Cognitive Poetics (as such)

Although current discussions of linguistic relativity tend to concen- trate on obligatory grammatical categories, the original architects of this school of thought, including Boas, Sapir, and Whorf, all argued strongly for the role of vocabulary in guiding human perception, especially in the culturally charged situations of everyday life. Taking the Hupa, Yurok, and Karuk languages of northwestern California as a case study, this article demonstrates the im- portance of vocabulary in conveying pervasive cultural ideologies, such as those associated with mythology, religion, folklore, or geographical systems of spatial orientation.Although current discussions of linguistic relativity tend to concen- trate on obligatory grammatical categories, the original architects of this school of thought, including Boas, Sapir, and Whorf, all argued strongly for the role of vocabulary in guiding human perception, especially in the culturally charged situations of everyday life. Taking the Hupa, Yurok, and Karuk languages of northwestern California as a case study, this article demonstrates the im- portance of vocabulary in conveying pervasive cultural ideologies, such as those associated with mythology, religion, folklore, or geographical systems of spatial orientation.

MONTANER, Alberto, y TAUSIET, María, «“Ojos ayrados”: Poética y retórica de la brujería», en Señales, Portentos y Demonios: La magia en la literatura y la cultura españolas del Renacimiento, Salamanca, Sociedad de Estudios Medievales y Renacentistas, 2014 [ISBN 978-84-941708-2-9], pp. 277-350.

"The articles takes as its point of departure the recent cross-disciplinary field of scholarly inquiry, interchangeably called cognitive poetics, cognitive narratology and cognitive literary criticism, that utilises research in cognitive science to inform studies of readers' cognitive and emotional engagement with literary texts. The main argument is that reading fiction provides an excellent training for young people in developing and practising empathy and theory of mind, that is, understanding of how other people feel and think. Both empathy and theory of mind are considered to be essential social skills. The article shows how fictional texts encourage readers to engage affectively with the characters, without losing the sense of fictionality or getting fully immersed in fiction. The argument is illustrated by the classical children's novel The Secret Garden, which is not normally recognised for its representation of interiority. Employing reading strategies from cognitive criticism allows a deeper investigation of the dimensions of fictional texts overlooked by previous research. It also offers practitioners a new approach to fiction that may prove fruitful in teaching emotional literacy.
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Reader-responsibility, an important aspect of Japanese, is a part of a language typology, in which non-verbalized items or ambiguity in a text may be compensated by the reader/ listener for an effective communication. The writer of this article is the Turkish translator of Tanizakiʼs novel Sasameyuki [Nazlı Kar]. In this paper, she explains the method she used for the translation of the semantic and cognitive items of the reader responsibility aspects of the novel, in which she applied cognitive poetics theory and relevance theory (from the point of view implicature and explicature). The study reveals the following results: 1) Translation of the implicit meaning of the reader responsibility aspects (implicature) can be translated into Turkish similarly, but there are cases where pragmatic explicature is necessary. 2) For most of the semantic gaps (implicature) of the Japanese source text, pragmatic explicature is necessary for the Turkish target text. 3) For most of the cognitive items of the Japanese source text pragmatic explicature is necessary for the Turkish target text. This study brings a new approach to the translation of semantic and cognitive items of reader responsibility aspects of Japanese, which helps to solve translation problems and

"There has always been an interest in how to interpret metaphorical proverbs. Recent research in cognitive science can be utilized to effectively diagram proverb meaning, especially defining the base meaning and evaluating he proverb meaning as incorporated into a larger context such as a story (i.e. blended meaning). In this article Gilles auconnier and Mark Turner's model of conceptual blending (Fauconnier 2002) is applied and expanded to describe he process of metaphorical proverb meaning. The proverb under consideration serves as the conclusion to a Kazakh folktale. Through narrative analysis of the folktale the spaces of the proverb map can be filled in, and the base and blended meaning elucidated. Finally, there is a discussion of relevance as the process of incorporating cultural inferences which complete the meaning of the proverb both as base meaning and as blended meaning.
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Монография реализует когнитивно-онтологический подход к исследованию хуожественного текста и направлена на формирование представления о феномене творческого языкового сознания и его роли в художественном творчестве. Издание призвано создать понимание специфики когнитивной методологии и когнитивных методов анализа.
Представленный материал включает обзор теоретических понятий и концепций, представляющих научную традицию, а также изложение новых тенденций, например, изучение генезиса когнитивных механизмов формирования смысла. Книга знакомит с возможностью рассмотрения развития литературного процесса в контексте развития творческого сознания. Издание адресовано специалистам в области языка художественного творчества, аспирантам, студентам, а также всем интересующимся исследованиями в области филологии. Монография предназначена к использованию в рамках вузовских курсов и спецкурсов по когнитивной лингвистике, поэтике, литературе и анализу текста.

The Turkish translator of Sasameyuki explains the translation process and method (Reader responsibility and cognitive poetics) . She also gives information about the book for Turkish readers , the period, the social structure and language usage in the book, main themes of the book etc.
Nazlı Kar kitabının çevirmeni bu makalede çeviri sürecinden bahsediyor ve romana dair bilgiler veriyor: 1) Eserin adı 2) Eserin Yazılış Öyküsü 3) Eserin konusu-ana temaları 4) Eserin konusunun geçtiği dönem 5) Eserde görülen sosyal yapı ve kadın 6) Eserde kullanılan dil 7) Transkripsiyon

Every serious poet eventually faces the daunting task of assembling a collection of work. Some group their work by theme, some by feeling. What does it take to assemble the perfect book of poetry? To create a flow and cohesive feeling for the reader? How does one tell a story that lifts the reader from one place to the other on a seamless, breathless ride through 40 poems? Sylvia Plath knew.
In my book, Fixed Stars Govern a Life: Decoding Sylvia Plath, vol. one (2014, Stephen F. Austin State University Press), I introduce Plath’s organizational system of aligning her poems in Ariel: The Restored Edition (2004, HarperCollins) with the tarot and Qabalah. In the introduction of my forthcoming FSGL volume two, I’ll discuss another poetic technique in Plath’s arsenal: Connecting one poem to the next through shared words and images.
Want to see for yourself? Grab your copy of Ariel and come along for the ride.

There is a long tradition among Keats’s critics that links his medical
profession to his poetic career, claiming that the former has influenced the latter. Some of them argue that the poet’s medical learning influenced his thought and formed a source material for his poetry. This paper continues this tradition. I argue that Keats’s knowledge of medicine has provided him with technical information to describe abstract states such as negative mood and mental states through medical language. I examine some of his medical metaphors using a cognitive approach to investigate how Keats employs medical terminology to conceptualize these negative mental states. This new approach allows me to see how concepts and structures which belong to the domain of the medical profession (source) are mapped onto the domain of negative mental states and emotions (target) through the process of cross-domain mapping. Cross-domain mapping allows the speaker to use prior knowledge of the source domain and apply it to the target domain so as to describe it in a new way. Using this cognitive approach offers a better understanding of Keats’s poetry, particularly the metaphors of negative mental states such as depression and melancholy. My analysis differs from previous studies as my approach considers Keats’s medical profession as a domain where he maps concepts and frames onto the domain of negative emotions.

Abstract: As William Blake noted many years ago,'poetry admits not a letter that is insignificant.'In a poem, everything counts. For Emily Dickinson's poetry, almost all of it unpublished during her lifetime, reading the manuscripts becomes crucially important in a cognitive appraisal of the text and the poet's creative processes. In this paper, I show how a cognitive analysis of several of Dickinson's manuscripts show that editorial decisions on line structure have misled readers into misinterpreting the poems. The tools of cognitive ...

A special characteristic of numerous Hungarian folksongs is the so called “natural image”, which, in an initial position within the text, anticipates the emotional and conceptual content in some way. In many cases, the meaning and the conceptual relevance of the natural image is not obvious at all. In the representation of the natural scene, based on mostly visual perception, a fundamental element is that of spatial relationships being dynamically construed in the world of the text. The analysis of the metaphorical potential of space representation sets up a claim for a model, which combines both structural and procedural factors of understanding. I aim at outlining all categories which have a significant role in space representation, and by this means composing a framework of interpretation, which, though it rests on one certain text type, can later on be extended to further texts of lyrics. The significance of this paper is two-fold: it presents fundamentally new results on how the process of construing works in terms of text types, while it is an example as well of the empiric investigation of functional text linguistics. The theoretical basis of the approach is mostly holistic cognitive linguistics worked out by R. Langacker, and the kind of methodology used is empiric text analysis.

نظریة شعرشناسی شناختی، یک نظریه دربارة ادبیات فراهم می‌کند که مبتنی بر زبان متون ادبی و نوع چیدمان واحدهای زبانی است و همچنین مبتنی بر شگردهای زبان‌شناسی‌ شناختی از جمله استدلال قیاسی است که بر این اساس، طبق چارچوب نظری مارگریت فریمن (2002) یک متن دارای سه سطح نگاشت ویژگی، نگاشت رابطه‌ای و نگاشت نظام است. در سطح اول، دریافت شباهت میان اشیاء بررسی می‌شود. در سطح دوم، روابط میان اشیاء و در سطح سوم، تشخیص الگوهای موجود به‌واسطة روابط میان اشیاء که امکان تعمیم را برای ساختار بسیار انتزاعی‌تر ایجاد می‌کند.
در این پژوهش، برای بررسی عملکرد این نظریه، به بررسی شعری از احمد شاملو می‌پردازیم. این مقاله درصدد یافتن پاسخ این پرسش است که نظریة شعرشناسی شناختی، چگونه می‌تواند به مثابة یک نظریة ادبی مناسب برای تحلیل سازمند و خوانش یک اثر عمل کند؟ فرضیة آن، این است که هر نظریه‌ای باید دارای هفت معیار باشد که به مثابة نظریه‌ای مناسب تلقی شود و شعرشناسی شناختی، ابزاری قدرت‌مند برای ایجاد تمایز میان کارکرد زبانی و کارکرد شعری فراهم می‌کند و مهارت‌های عمومی نگاشت که توانایی‌ شناختی را برای تولید و تفسیر استعاره تشکیل می‌دهند، از جمله پایه‌های این نظریه هستند که می‌توانند بینش‌ها و محدودیت‌های نقد ادبی سنتی را روشن کنند و همچنین کاربرد شعرشناسی شناختی می‌تواند سبک ادبی را مشخص و ارزیابی کند. هدف اصلی پژوهش نشان دادن چگونگی تفاوت میان زبان و ساختار شعر با با زبان روزمره یا دیگر ژانرها است و اینکه چگونه خوانش نظام‌مند هر شعری، با توجه به «نگاشت نظام»، رخ می‌دهد.

This paper addresses the theme of Keats and place in which I mainly focus on the issue of Keats and no place. The existence of ‘no place’ is a key element in the poetry of John Keats. One of the obvious manifestations of ‘no place’ is the use of the term ‘nothingness’ which occupies a particular symbolic significance in his works. The current paper investigates the way Keats views and represents the abstract concept of nothingness. I argue that Keats’s poems show evidence that the poet featured nothingness concretely as a place which is characterized by emptiness and void where things fall and disappear forever. The abstract state of ‘nothingness’ is represented as a hateful and undesired destination that the poet does not want to be placed in. The paper focuses on the representations of nothingness in three selected poems: “Sleep and Poetry”, “Endymion” and “When I Have Fears” respectively. In these poems, Keats constructs nothingness as a ‘locus’ which is associated with negativity and passivity. My paper suggests another possible reading of Keats’s poems in relation to the themes of place and space. The study is the first of its kind in regard to the depiction of nothingness in Keats.
KEY WORDS: Keats, Mental Process, Nothingness, Place, Space

This paper argues that what at first sight appear to be claims about the minds of readers can often be better understood as arguments about the qualities of texts. It is both a critique of schema theory as applied to literary analysis and a study in the rhetoric of literary evaluation.

Two literary readings that employ schema theory are analysed: Sara Mills's reading of Martin Amis's novel, London Fields, and Guy Cook's reading of Edward Bond's poem, 'First World War Poets'. It is argued that the rhetorical effectiveness of these writings is largely independent of the validity or otherwise of schema theory.

This paper can be downloaded free of charge:

http://oro.open.ac.uk/15336/1/Allington_2005.pdf

Российский государственный педагогический университет имени А.И. Герцена (Санкт-Петербург, Россия) zinatim@rambler.ru Целью статьи является анализ феномена когнитивного диссонанса, рассматриваемого в исследовании как неотъемлемый компонент интерпретационной программы постмодернист-ских художественных текстов, представляющих собой метафикциональные повествования. Ак-туальность статьи обусловлена выявлением основных механизмов и приемов построения по-стмодернистского повествования, ведущих к возникновению когнитивного диссонанса, прежде всего стратегии двойного кодирования, механизма маски автора-творца, приема моделирования обширного топоса экстрадиегетического адресата. Ключевые слова: когнитивный диссонанс, интерпретационная программа, метафикциональное повествование, эксплицитная игровая модальность, стратегия двойного кодирования, ирония. Для цитирования: Чемодурова З.М. Когнитивный диссонанс как компонент интерпретационной программы постмодернист-ского художественного текста // Вопросы когнитивной лингвистики. 2019. № 2. С. 55-64.

Resumen: La lectura poética explora técnicas que rescatan procesos cognitivos básicos y aún no automatizados que todo aprendizaje lector activa. Asimismo, la lectura poética sostiene e incentiva los estados de inestabilidad cognitiva por los que ha de pasar cualquier proceso mental. Se configuran así estrategias cognitivas de desaprendizaje de automatismos y de irresolución de interpretaciones que tienen como resultado el extrañamiento y la complejidad, y que se analizarán en el contexto de un poema de Baudelaire. Palabras clave: Lectura poética. Cognición y lectura. Extrañamiento. Desaprendizaje. Baudelaire. Abstract: This poetic reading explores techniques which rediscover basic cognitive processes which up to now have not been automated and

Resumen: Este trabajo investiga la relación entre la conciencia y las emociones a través de la representación del deseo en la obra Creciente fértil (1989) de Clara Janés. Contextualizado en la teoría cognitivo literaria, el estudio sintetiza diversas consideraciones filosóficas y neurocientíficas acerca del deseo con el propósito de proponer una interpretación de la obra de Clara Janés basada en la hipótesis poetológica de que la experiencia y la satisfacción del deseo cumplen una función homeostásica. De ello deriva una indagación sobre los modos en que el deseo se entrelaza con el conocimiento en el lenguaje literario y acerca de las estructuras de subjetividad con las que opera el pensamiento poético..

Shklovski concibió el extrañamiento en arte como efecto de un artificio mediante el que se consigue la sensación de las cosas como son percibidas y no como son sabidas. Pero la percepción-desde el punto de vista cognitivo-es un hecho complejo en el que se subsumen procesos más básicos que también pueden ofrecer 'desfamiliarización' al presentarse-siquiera fugazmente-en la conciencia. La hipótesis que presenta este trabajo es la de que la poesía moderna registra estas operaciones con singular persisten-cia y las convierte en índice de poeticidad. Se abordarán pues modos de extrañamiento perceptivo que se producen tanto en la naturaleza material (acústica y visual) como en la naturaleza mental del lenguaje poético. Esta exploración se hará desde presupues-tos de cognición encarnada y con ayuda de conceptos procedentes de la neurociencia cognitiva.

L'étude présente porte sur l'herméneutique de la lecture de Marielle Macé et tente de préciser quelle philosophie de la forme, donc quelle poétique, elle engage et comment cette philosophie de la forme est indexée sur une philosophie de la vie dont les parti-pris paraissent radicaux et nécessaires à l'élaboration d'une pensée de l'individuation aiguisée par les concepts de la critique littéraire.

This volume, the result of the combined effort of eight European researchers, adopts a renewed comparative approach to Renaissance poetics on the basis of an analysis of the plurality of meanings theoreticians have bestowed upon the key concepts of the new theoretical system. Examined herein are Neoplatonic poetics and poetic inspiration (furor poeticus), Aristotelianism and catharsis, the systematic nature of the theory of literary genres and the role of mimesis within the theory of epic poetry, attention likewise being given to other critical traditions such as Hermogenism, as well as to the confluence between classical models and reflections originating from vernacular poetics within the Catalan area.

Shklovski concibió el extrañamiento en arte como efecto de un artificio mediante el que se consigue la sensación de las cosas como son percibidas y no como son sabidas. Pero la percepción –desde el punto de vista cognitivo– es un hecho complejo en el que se subsumen procesos más básicos que también pueden ofrecer “desfamiliarización” al presentarse –siquiera fugazmente– en la conciencia. La hipótesis que presenta este trabajo es la de que la poesía moderna registra estas operaciones con singular persistencia y las convierte en índice de poeticidad. Se abordarán pues modos de extrañamiento perceptivo que se producen tanto en la naturaleza material (acústica y visual) como en la naturaleza mental del lenguaje poético. Esta exploración se hará desde presupuestos de cognición encarnada y con ayuda de conceptos procedentes de la neurociencia cognitiva.

Abstract: As William Blake noted many years ago,'poetry admits not a letter that is insignificant.'In a poem, everything counts. For Emily Dickinson's poetry, almost all of it unpublished during her lifetime, reading the manuscripts becomes crucially important in a cognitive appraisal of the text and the poet's creative processes. In this paper, I show how a cognitive analysis of several of Dickinson's manuscripts show that editorial decisions on line structure have misled readers into misinterpreting the poems. The tools of cognitive ...

The notions of construction and formula are, respectively, the main currencies of cognitive grammar and the theory of oral-formulaic composition in performance. Even though they originated independently, both formulas and constructions are defined as form-meaning-function patterns, and, as such, represent the central theoretical constructs in their respective fields. In this chapter we propose a connection between these two research traditions, in the hope this will open up new vistas for scholars in oral poetics, cognitive linguistics, and cognitive science. 
To examine how connecting these two approaches may provide new insights, we first compare the frameworks of construction grammar and the Parry-Lord theory of oral composition in performance, paying particular attention to the (often problematic) definitions of the concepts of oral formula and grammatical construction, showing that the two are based on very similar foundations. We then go on to suggest how both approaches can complement one another, outlining the connections between some of their major interests and recent developments. Finally, we illustrate our ideas with an analysis of a formula highlighted by Albert Lord in The Singer of Tales, using the methodological apparatus of construction grammar.
Our conclusion is that this combination of the two approaches can help us reach a better understanding of both formulas and constructions, as well as build the foundations for an interdisciplinary field of cognitive oral poetics. This new field, we hope, will have the potential to provide important insights into not only verbal art, but also into language and cognition in general, especially in the domains of generalization in language, language acquisition, and the relation between verbal form and conceptual structure.

The paper takes as its point of departure cognitive criticism, the direction of inquiry that investigates readers' cognitive and affective engagement with literature, partly based on recent brain research. It argues that for young readers who may not yet have developed full comprehension of fundamental moral issues and who have not attained the literary competence necessary to understand fictive characters' mental processes, representation of emotions in literature may produce a problem. Since guilt is a complex social emotion, involving a reconciliation of several contradictory goals, such representation demands well-developed empathy and advanced mind-reading skills, as well as factual knowledge of relevant legislation and understanding of moral implications of crime, guild and remorse. The paper examines these issues through a reading of two texts for young audience, Forbidden (2010), by Tabitha Suzuma, and His Dark Materials trilogy (1995-2000), by Philip Pullman. The former is totally focused on guilt, in legal as well as moral sense, experienced by two siblings who enter an incestuous relationship. In the latter, guilt is less conspicuous, yet proves on closer consideration to be a major plot engine in the protagonist Lyra's physical and spiritual quest. While Suzuma's novel has an overt educational agenda, it is ambiguous in supporting young readers' ethical position towards the protagonists' guilt. In Pullman's trilogy, guilt becomes closely connected with the fundamental philosophical issues of determinism and free will. Although Pullman does not provide any clear-cut ethical guidance either, the use of emotion discourse, or emotion ekphrasis, is more subtle, not least because the genre allows a outward projection of emotions in the form of daemons. Lyra's guilt becomes a driving engine in her maturation process. The ultimate argument of the paper is that literature provides an excellent training field for young readers' developing of empathy skills, and the vicarious experience of guilt exposes readers to a wide range of ethical questions.

The chapter considers how various emotions (happiness, sadness, anger, fear) can be conveyed through the interaction of word and image in multimedial texts addressed to young readers. The theoretical framework employed in the chapter develops ideas from cognitive literary theory adapting it to the specific conditions in which there is a significant difference between the sender's and the recipient's cognitive level. The concept of emotion ekphrasis is used to demonstrate the various ways of representing emotions, and a special attention will be paid to the issues of mind-reading, empathy, identification, projection, simulation, misattribution and other aspects of recipients' engagement. The predominantly theoretical argument is  illustrated by a number of classic and contemporary picturebooks, including "Curious George", "Little Blue and Little Yellow", "The Red Tree" and "The Lost Thing"