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Cognitive poetics is a new way of thinking about literature, involving the application of cognitive linguistics and psychology to literary texts. This student-friendly book provides a set of case studies to help students understand the theory and master the practice of cognitive poetics in analysis. In each chapter, contributors present a practical application of the methods and techniques of cognitive poetics, to a range of texts, from Wilfred Owen, to Roald Dahl. This book is critical reading for students on courses in cognitive poetics, stylistics and literary linguistics. eBook available with sample pages: 0203417739
Cognitive poetics is a new way of thinking about literature, involving the application of cognitive linguistics and psychology to literary texts. This student-friendly book provides a set of case studies to help students understand the theory and master the practice of cognitive poetics in analysis. In each chapter, contributors present a practical application of the methods and techniques of cognitive poetics, to a range of texts, from Wilfred Owen, to Roald Dahl. This book is critical reading for students on courses in cognitive poetics, stylistics and literary linguistics.
Poetry in the Mind is the first book-length cognitive analysis
focused entirely on 21st century poetic texts and their conceptual
effects. Addressing central poetic notions or features of poetic
style from an innovative cognitive perspective, the book sheds new
light on established ideas about poetic creativity and language. It
acts as a showcase both for cutting-edge cognitive research and for
the linguistic creativity of renowned poets such as Simon Armitage,
Jo Bell, John Burnside, Sinead Morrissey, Alice Oswald, and Kate
Tempest.
Joanna Gavins presents some of the newest and most influential
ideas in cognitive psychology and cognitive linguistics through
clearly explained, practical analyses of the work of some of the
most popular and celebrated poets currently writing in the British
Isles. Through analysis of works by Jo Bell, Simon Armitage, Sinead
Morrissey, John Burnside, Alice Oswald and Kate Tempest she
demonstrates the practical use of cognitive frameworks as a means
of understanding poetry and its effects. Gavins examines cutting
edge concepts in cognition including world-building, conceptual
integration, embodiment, and distributed cognition and develops our
understanding of key notions in poetics such as poetic metre,
performance, metaphor and intertextuality. Each chapter of the book
addresses a central poetic notion or feature of poetic style from
an innovative cognitive perspective, shedding new light on
established ideas about poetic creativity and language.
World Building represents the state-of-the-discipline in
worlds-based approaches to discourse, collected together for the
first time. Over the last 40 years the 'text-as-world' metaphor has
become one of the most prevalent and productive means of describing
the experiencing of producing and receiving discourse. This has
been the case in a range of disciplines, including stylistics,
cognitive poetics, narratology, discourse analysis and literary
theory. The metaphor has enabled analysts to formulate a variety of
frameworks for describing and examining the textual and conceptual
mechanics involved in human communication, articulating these
variously through such concepts as 'possible worlds', 'text-worlds'
and 'storyworlds'. Each of these key approaches shares an
understanding of discourse as a logically grounded, cognitively and
pragmatically complex phenomenon. Discourse in this sense is
capable of producing highly immersive and emotionally affecting
conceptual spaces in the minds of discourse participants. The
chapters examine how best to document and analyze this and this is
an essential collection for stylisticians, linguists and narrative
theorists.
This title challenges traditional scholarship on absurdist
literature, privileging the reader and the genre's stylistic
achievements. Since Martin Esslin coined 'the Theatre of the
Absurd' to describe experimental drama in the mid-twentieth
century, the term 'absurd' has been adopted as a means of
discussing a vast array of literary text. Many accounts have
focused on the philosophical and thematic concerns of absurd prose
fiction, but literary-criticism has failed to agree on the
stylistic, generic, and temporal. This volume takes an alternative
approach: its core aim is to provide a coherent, linguistically
rigorous examination of the discourse features which characterise
the absurd in literature. In order to understand how such a
critically ill-defined term continues to have value and relevance
to a global readership in the twenty-first century it takes as its
starting point the readers who regularly use absurd terms and
investigates their discussions in online fora, on literary tagging
websites, and in face-to-face interactions. It examines a diverse
range of literary texts, both prose and poetry. It covers classic
and contemporary absurdist texts. It analyses the stylistic
characteristics of this body of work using a cognitive-stylistic
approach.
World Building represents the state-of-the-discipline in
worlds-based approaches to discourse, collected together for the
first time. Over the last 40 years the 'text-as-world' metaphor has
become one of the most prevalent and productive means of describing
the experiencing of producing and receiving discourse. This has
been the case in a range of disciplines, including stylistics,
cognitive poetics, narratology, discourse analysis and literary
theory. The metaphor has enabled analysts to formulate a variety of
frameworks for describing and examining the textual and conceptual
mechanics involved in human communication, articulating these
variously through such concepts as 'possible worlds', 'text-worlds'
and 'storyworlds'. Each of these key approaches shares an
understanding of discourse as a logically grounded, cognitively and
pragmatically complex phenomenon. Discourse in this sense is
capable of producing highly immersive and emotionally affecting
conceptual spaces in the minds of discourse participants. The
chapters examine how best to document and analyze this and this is
an essential collection for stylisticians, linguists and narrative
theorists.
This title challenges traditional scholarship on absurdist
literature, privileging the reader and the genre's stylistic
achievements. Since Martin Esslin coined 'the Theatre of the
Absurd' to describe experimental drama in the mid-twentieth
century, the term 'absurd' has been adopted as a means of
discussing a vast array of literary text. Many accounts have
focused on the philosophical and thematic concerns of absurd prose
fiction, but literary-criticism has failed to agree on the
stylistic, generic, and temporal. This volume takes an alternative
approach: its core aim is to provide a coherent, linguistically
rigorous examination of the discourse features which characterise
the absurd in literature. In order to understand how such a
critically ill-defined term continues to have value and relevance
to a global readership in the twenty-first century it takes as its
starting point the readers who regularly use absurd terms and
investigates their discussions in online fora, on literary tagging
websites, and in face-to-face interactions. It examines a diverse
range of literary texts, both prose and poetry. It covers classic
and contemporary absurdist texts. It analyses the stylistic
characteristics of this body of work using a cognitive-stylistic
approach.
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