| Acknowledgments |
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ix | |
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1 | (10) |
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1.1 Cognitive Grammar in fiction |
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1 | (1) |
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2 | (5) |
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1.2.1 Text choice: Contemporary and postmodern fiction |
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2 | (1) |
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1.2.2 Postmodern texts: A stylistic profile |
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3 | (2) |
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1.2.3 Online reader reviews |
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5 | (2) |
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1.3 Cognitive linguistics in stylistics |
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7 | (1) |
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8 | (3) |
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Chapter 2 Cognitive Grammar: An overview |
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11 | (20) |
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11 | (2) |
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2.1.1 Grammar as construction |
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12 | (1) |
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2.2 CG: Some central concepts |
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13 | (11) |
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2.2.1 Trajector and landmark |
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13 | (1) |
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14 | (1) |
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14 | (2) |
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2.2.4 Grounding construal relationships |
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16 | (1) |
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2.2.5 The compositional path |
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17 | (1) |
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18 | (2) |
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2.2.7 Reference points and scanning |
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20 | (2) |
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2.2.8 The current discourse space |
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22 | (1) |
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23 | (1) |
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2.3 CG as a discourse framework |
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24 | (3) |
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24 | (1) |
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25 | (2) |
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2.4 CG and other cognitive models |
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27 | (3) |
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27 | (2) |
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29 | (1) |
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2.4.3 Deictic shift theory |
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29 | (1) |
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30 | (1) |
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30 | (1) |
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Chapter 3 Action chains and grounding in Enduring Love |
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31 | (18) |
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31 | (1) |
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3.1.1 Action, energy, process |
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31 | (1) |
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32 | (1) |
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3.3 Grounding perspective |
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33 | (2) |
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3.4 Narrative urgency and `the generation of multiplicity' |
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35 | (3) |
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3.5 Action chains and clausal grounding |
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38 | (5) |
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3.5.1 Modality and metaphor |
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41 | (2) |
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3.6 Nominal grounding: Schematicity vs. specificity |
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43 | (3) |
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3.7 Conclusion: `What were we running toward?' |
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46 | (1) |
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47 | (2) |
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Chapter 4 The reference point model: Tracking character roles in The New York Trilogy |
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49 | (22) |
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49 | (2) |
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4.1.1 Reference points in fiction |
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49 | (2) |
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4.2 The New York Trilogy and the postmodern quest |
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51 | (3) |
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52 | (2) |
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4.3 Reader response: Tracking character roles |
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54 | (6) |
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60 | (6) |
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4.5 Conclusion: `The story is not in the words; it's in the struggle' |
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66 | (2) |
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68 | (3) |
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Chapter 5 Interrelated references and fictional world elaboration in Coraline |
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71 | (20) |
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71 | (1) |
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5.2 Construal: Production and reception |
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72 | (2) |
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5.2.1 Construction schemas |
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73 | (1) |
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5.3 Elaboration and world comparison: The other world' of Coraline |
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74 | (5) |
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5.3.1 Elaborative relationships |
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75 | (4) |
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79 | (1) |
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5.5 Resistance and identification |
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80 | (8) |
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5.5.1 Reader response: Character |
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80 | (4) |
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5.5.2 Reader response: Fictional world |
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84 | (4) |
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5.6 Conclusion: `It was so familiar - that was what made it feel so truly strange' |
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88 | (1) |
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89 | (2) |
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Chapter 6 Mind-modelling perspective in `Great Rock and Roll Pauses' |
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91 | (22) |
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6.1 Introduction: Visual attention in cognitive linguistics and CG |
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91 | (1) |
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6.2 `Great Rock and Roll Pauses' |
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92 | (3) |
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6.2.1 Mind-modelling perspective |
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93 | (2) |
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95 | (5) |
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100 | (2) |
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6.5 Multimodal perspective in `Great Rock and Roll Pauses' |
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102 | (7) |
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6.5.1 Attentional windowing |
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102 | (2) |
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6.5.2 Speech presentation |
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104 | (2) |
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6.5.3 Viewing arrangements and conceptual distancing |
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106 | (3) |
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6.6 Conclusion: `Music first, and then the pause' |
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109 | (2) |
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111 | (2) |
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Chapter 7 Scanning the compositional path of `Here We Aren't, So Quickly' |
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113 | (18) |
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113 | (1) |
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113 | (1) |
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7.2 `Here we aren't, so quickly' |
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114 | (4) |
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7.3 Analysability (`I counted the seconds backward') |
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118 | (3) |
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7.4 Components (`Not wilfully unclear, just trying to say it as it wasn't') |
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121 | (4) |
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7.5 Composition (`Everything else happened - why not the things that could have?') |
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125 | (3) |
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7.6 Conclusion: `We reached the middle so quickly' |
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128 | (1) |
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129 | (2) |
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131 | (6) |
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8.1 A Cognitive Discourse Grammar |
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131 | (2) |
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8.2 Suitability for stylistics: Scalability and rigour |
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133 | (2) |
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135 | (2) |
| References |
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137 | (14) |
| Appendix |
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151 | (12) |
| Index |
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163 | |
Lisainfo e-raamatute kohta