A Prehistory Of Cognitive Poetics
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A Prehistory of Cognitive Poetics
Author: Karin Kukkonen
language: en
Publisher: Oxford University Press
Release Date: 2017-03-06
This study provides an introduction to the neoclassical debates around how literature is shaped in concert with the thinking and feeling human mind. Three key rules of neoclassicism, namely, poetic justice (the rewards and punishments of characters in the plot), the unities (the coherence of the fictional world and its extensions through the imagination) and decorum (the inferential connections between characters and their likely actions), are reconsidered in light of social cognition, embodied cognition and probabilistic, predictive cognition. The meeting between neoclassical criticism and today's research psychology, neurology and philosophy of mind yields a new perspective for cognitive literary study. Neoclassicism has a crucial contribution to make to current debates around the role of literature in cultural and cognition. Literary critics writing at the time of the scientific revolution developed a perspective on literature the question of how literature engages minds and bodies as its central concern. A Prehistory of Cognitive Poetics traces the cognitive dimension of these critical debates in seventeenth- and eighteenth-century Britain and puts them into conversation with today's cognitive approaches to literature. Neoclassical theory is then connected to the praxis of eighteenth-century writers in a series of case studies that trace how these principles shaped the emerging narrative form of the novel. The continuing relevance of neoclassicism also shows itself in the rise of the novel, as A Prehistory of Cognitive Poetics illustrates through examples including Pamela, Tom Jones and the Gothic novel.
A Prehistory of Cognitive Poetics
Author: Karin Kukkonen
language: en
Publisher: Oxford University Press
Release Date: 2017-03-06
This study provides an introduction to the neoclassical debates around how literature is shaped in concert with the thinking and feeling human mind. Three key rules of neoclassicism, namely, poetic justice (the rewards and punishments of characters in the plot), the unities (the coherence of the fictional world and its extensions through the imagination) and decorum (the inferential connections between characters and their likely actions), are reconsidered in light of social cognition, embodied cognition and probabilistic, predictive cognition. The meeting between neoclassical criticism and today's research psychology, neurology and philosophy of mind yields a new perspective for cognitive literary study. Neoclassicism has a crucial contribution to make to current debates around the role of literature in cultural and cognition. Literary critics writing at the time of the scientific revolution developed a perspective on literature the question of how literature engages minds and bodies as its central concern. A Prehistory of Cognitive Poetics traces the cognitive dimension of these critical debates in seventeenth- and eighteenth-century Britain and puts them into conversation with today's cognitive approaches to literature. Neoclassical theory is then connected to the praxis of eighteenth-century writers in a series of case studies that trace how these principles shaped the emerging narrative form of the novel. The continuing relevance of neoclassicism also shows itself in the rise of the novel, as A Prehistory of Cognitive Poetics illustrates through examples including Pamela, Tom Jones and the Gothic novel.
Poetic Conventions as Cognitive Fossils
Author: Reuven Tsur
language: en
Publisher: Oxford University Press
Release Date: 2017-08-01
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.