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Cognitive Grammar in Contemporary Fiction [Kõva köide]

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(Coventry University)
  • Formaat: Hardback, 164 pages, kaal: 460 g
  • Sari: Linguistic Approaches to Literature 26
  • Ilmumisaeg: 24-May-2017
  • Kirjastus: John Benjamins Publishing Co
  • ISBN-10: 9027234159
  • ISBN-13: 9789027234155
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Cognitive Grammar in Contemporary FictionSuurem pilt
  • Formaat: Hardback, 164 pages, kaal: 460 g
  • Sari: Linguistic Approaches to Literature 26
  • Ilmumisaeg: 24-May-2017
  • Kirjastus: John Benjamins Publishing Co
  • ISBN-10: 9027234159
  • ISBN-13: 9789027234155
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9789027234155.html
Märksõnad:
This book proposes an extension of Cognitive Grammar (Langacker 1987, 1991, 2008) towards a cognitive discourse grammar, through the unique environment that literary stylistic application offers. Drawing upon contemporary research in cognitive stylistics (Text World Theory, deixis and mind-modelling, amongst others), this book scales up central Cognitive Grammar concepts (such as construal, grounding, the reference point model and action chains) in order to explore the attenuation of experience – and how it is simulated – in literary reading. In particular, this book considers a range of contemporary texts by Neil Gaiman, Jennifer Egan, Jonathan Safran Foer, Ian McEwan and Paul Auster. This application builds upon previous work that adopts Cognitive Grammar for literary analysis and provides the first extended account of Cognitive Grammar in contemporary fiction.
Acknowledgments ix
Chapter 1 Introduction
1(10)
1.1 Cognitive Grammar in fiction
1(1)
1.2 Methods and texts
2(5)
1.2.1 Text choice: Contemporary and postmodern fiction
2(1)
1.2.2 Postmodern texts: A stylistic profile
3(2)
1.2.3 Online reader reviews
5(2)
1.3 Cognitive linguistics in stylistics
7(1)
1.4 Structure of book
8(3)
Chapter 2 Cognitive Grammar: An overview
11(20)
2.1 Grammar as meaning
11(2)
2.1.1 Grammar as construction
12(1)
2.2 CG: Some central concepts
13(11)
2.2.1 Trajector and landmark
13(1)
2.2.2 Image schemas
14(1)
2.2.3 Construal
14(2)
2.2.4 Grounding construal relationships
16(1)
2.2.5 The compositional path
17(1)
2.2.6 Action chains
18(2)
2.2.7 Reference points and scanning
20(2)
2.2.8 The current discourse space
22(1)
2.2.9 Fictive simulation
23(1)
2.3 CG as a discourse framework
24(3)
2.3.1 Defining discourse
24(1)
2.3.2 Scalability
25(2)
2.4 CG and other cognitive models
27(3)
2.4.1 Text World Theory
27(2)
2.4.2 Schema theory
29(1)
2.4.3 Deictic shift theory
29(1)
2.4.4 Mind-modelling
30(1)
2.5 Review
30(1)
Chapter 3 Action chains and grounding in Enduring Love
31(18)
3.1 Introduction
31(1)
3.1.1 Action, energy, process
31(1)
3.2 Enduring Love
32(1)
3.3 Grounding perspective
33(2)
3.4 Narrative urgency and `the generation of multiplicity'
35(3)
3.5 Action chains and clausal grounding
38(5)
3.5.1 Modality and metaphor
41(2)
3.6 Nominal grounding: Schematicity vs. specificity
43(3)
3.7 Conclusion: `What were we running toward?'
46(1)
3.8 Review
47(2)
Chapter 4 The reference point model: Tracking character roles in The New York Trilogy
49(22)
4.1 Introduction
49(2)
4.1.1 Reference points in fiction
49(2)
4.2 The New York Trilogy and the postmodern quest
51(3)
4.2.1 Layers and targets
52(2)
4.3 Reader response: Tracking character roles
54(6)
4.4 (R)evoking targets
60(6)
4.5 Conclusion: `The story is not in the words; it's in the struggle'
66(2)
4.6 Review
68(3)
Chapter 5 Interrelated references and fictional world elaboration in Coraline
71(20)
5.1 Introduction
71(1)
5.2 Construal: Production and reception
72(2)
5.2.1 Construction schemas
73(1)
5.3 Elaboration and world comparison: The other world' of Coraline
74(5)
5.3.1 Elaborative relationships
75(4)
5.4 Reading Coraline
79(1)
5.5 Resistance and identification
80(8)
5.5.1 Reader response: Character
80(4)
5.5.2 Reader response: Fictional world
84(4)
5.6 Conclusion: `It was so familiar - that was what made it feel so truly strange'
88(1)
5.7 Review
89(2)
Chapter 6 Mind-modelling perspective in `Great Rock and Roll Pauses'
91(22)
6.1 Introduction: Visual attention in cognitive linguistics and CG
91(1)
6.2 `Great Rock and Roll Pauses'
92(3)
6.2.1 Mind-modelling perspective
93(2)
6.3 CG and multimodality
95(5)
6.4 Event frames
100(2)
6.5 Multimodal perspective in `Great Rock and Roll Pauses'
102(7)
6.5.1 Attentional windowing
102(2)
6.5.2 Speech presentation
104(2)
6.5.3 Viewing arrangements and conceptual distancing
106(3)
6.6 Conclusion: `Music first, and then the pause'
109(2)
6.7 Review
111(2)
Chapter 7 Scanning the compositional path of `Here We Aren't, So Quickly'
113(18)
7.1 Introduction
113(1)
7.1.1 Scanning paths
113(1)
7.2 `Here we aren't, so quickly'
114(4)
7.3 Analysability (`I counted the seconds backward')
118(3)
7.4 Components (`Not wilfully unclear, just trying to say it as it wasn't')
121(4)
7.5 Composition (`Everything else happened - why not the things that could have?')
125(3)
7.6 Conclusion: `We reached the middle so quickly'
128(1)
7.7 Review
129(2)
Chapter 8 Conclusion
131(6)
8.1 A Cognitive Discourse Grammar
131(2)
8.2 Suitability for stylistics: Scalability and rigour
133(2)
8.3 Limitations
135(2)
References 137(14)
Appendix 151(12)
Index 163