By Peter Stockwell
Cognitive poetics is a brand new frame of mind approximately literature, concerning the applying of cognitive linguistics and psychology to literary texts. This ebook is the 1st introductory textual content to this transforming into box. In Cognitive Poetics: An Introduction, the reader is inspired to think again the kinds used to appreciate literary analyzing and research. protecting quite a lot of literary genres and historic classes, the booklet encompasses either American and ecu techniques. every one bankruptcy explores a unique cognitive-poetic framework and relates it to a literary textual content. together with a variety of actions, dialogue issues, feedback for additional examining and a glossarial index, the publication is either interactive and hugely obtainable. Cognitive Poetics: An Introduction is key analyzing for college students on stylistics and literary-linguistic classes, and may be of curiosity to all these eager about literary stories, serious conception and linguistics.
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Additional info for Cognitive Poetics: An Introduction
Nash 1985: 99) This was produced in a seminar on composition; Nash calls it a ‘pseudoparody’, since it simply echoes some of the stylistic features of the original. It does not constitute a thorough stylistic imitation and it would be difficult to match the rhetorical effect with the Dickens. Likewise it is not close enough to the original to count as a travesty. It is perhaps closest to a pastiche. All of these related terms from the critical literature on parody can be understood prototypically.
We can talk of the cultural model shared by an interpretative community – a group who can be said to share a similar way of understanding and reading. The cultural model displayed by my colleagues who are experts in Renaissance literature produces readings of Shakespeare that are radically different from those produced by cinema audiences or even by new students in the field. Expertness and authority are largely determined by this display of the cultural model patterns that are valued in the interpretative community in question.
It seems as if a threshold is crossed and readers can project their minds into the other world, find their way around there, and fill out the rich detail between the words of the text on the basis of real life experience and knowledge. Such a projection involves a means of understanding how closely word choices are tied to context. If you were to say, ‘I am here now’, it would mean something utterly different compared with me saying it. ‘I’ would mean you, not me; ‘here’ would be where you are, not where I am; and ‘now’ means your present, which is some point in my future.
Cognitive Poetics: An Introduction by Peter Stockwell