By Chloe Harrison
This can be the 1st e-book to offer an account of literary which means and results drawing on our greatest figuring out of brain and language within the type of a Cognitive Grammar. The members offer exemplary analyses of a number of literature from technological know-how fiction, dystopia, absurdism and image novels to the poetry of Wordsworth, Hopkins, Sassoon, Balassi, and Dylan Thomas, in addition to Shakespeare, Chaucer, Barrett Browning, Whitman, Owen and others. the appliance of Cognitive Grammar permits the dialogue of which means, translation, atmosphere, motion, mirrored image, multimodality, empathy, adventure and literariness itself to be performed in newly legitimate methods. With a Foreword via the writer of Cognitive Grammar, Ronald Langacker, and an Afterword via the cognitive scientist Todd Oakley, the ebook represents the newest strengthen in literary linguistics, cognitive poetics and literary severe perform.
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Extra info for Cognitive Grammar in Literature
The ambience of a literary passage can be explored systematically within cognitive linguistics. Evans (2009) sets out how lexical concepts instantiated by particular word-choices provide access points to more schematised conceptual models (following Langacker’s [2008a: 167–8] understanding of lexical choice as an instance of the schematisation of grammar). For literary reading, the overall sense of ambience in a passage is a consequence of the rich schematic experiences that are drawn on by the singular instances of the passage’s style.
The literary works encompassed within this book are quite wide-ranging across time, languages, canonical status, genre, and popularity. Though this textselection was an accident of allowing our contributors to follow their own literary interests, we are pleased that the range allows us to claim, with something more than a tentative commitment, that CG has a highly adaptable potential for literary analysis in general. The measure of success of this book will be for it to inspire a generation of stylisticians and literary critics to refresh their notions of how literature works.
It is further reinforced by several other instances: the ‘invisible jet’, the ‘white flame’, the people ‘momentarily turned to fire’. The archaic ambience associated with ‘ghost’ also flavours the passage, with the Martians’ advanced military technology described in late-nineteenth century terms both lexically and syntactically. The date of writing of the novel (1898) of course largely determines this, but Wells also seems to be adopting a distinctly mid-Victorian novelistic style here (‘the sudden squeal of a horse that was as suddenly stilled’ and the Gothic ‘this flaming death, this invisible, inevitable sword of heat’); and of course the archaic feeling is even stronger for a modern reader.
Cognitive Grammar in Literature by Chloe Harrison