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Poetic Conventions as Cognitive Fossils (Paperback)
Loot Price: R1,339
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Poetic Conventions as Cognitive Fossils (Paperback)
Series: Cognition and Poetics
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Poetic Conventions as Cognitive Fossils offers a major theoretical
statement of where poetic conventions come from. The work comprises
Reuven Tsur's research in cognitive poetics to show how
conventional poetic styles originate from cognitive rather than
cultural principles. The book contrasts two approaches to cultural
conventions in general, and poetic conventions in particular. They
include what may be called the "culture-begets-culture" or
"influence-hunting" approach, and the "constraints-seeking" or
"cognitive-fossils" approach here expounded. The former assumes
that one may account for cultural programs by pointing out their
roots in earlier cultural phenomena and provide a map of their
migrations. The latter assumes that cultural programs originate in
cognitive solutions to adaptation problems that have acquired the
status of established practice. Both conceptions assume "repeated
social transmission," but with very different implications. The
former frequently ends in infinite regress; the latter assumes that
in the process of repeated social transmission, cultural programs
come to take forms which have a good fit to the natural constraints
and capacities of the human brain. Tsur extends the principles of
this analysis of cognitive origins of poetic form to the writing
systems, not only of the Western world, but also to Egyptian
hieroglyphs through the evolution of alphabetic writing via old
Semitic writing, and Chinese and Japanese writings; to aspects of
figuration in medieval and Renaissance love poetry in English and
French; to the metaphysical conceit; to theories of poetic
translation; to the contemporary theory of metaphor; and to slips
of the tongue and the tip-of-the-tongue phenomenon, showing the
workings and disruption of psycholinguistic mechanisms. Analysis
extends to such varying sources as the formulae of some Mediaeval
Hebrew mystic poems, and the ballad 'Edward,' illustrative of
extreme 'fossilization' and the constraints of the human brain.
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