The Literary Mind.pdf

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CONTENTS 1 Bedtime with Shahrazad 3 2 Human Meaning 12 3 Body Action 26 4 Figured Tales 38 5 Creative Blends 57 6 Many Spaces 85 7 Single Lives 116 8 Language 140 Notes 169 Further Reading on Image Schemas 179 Index 183
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Page 2 and 3: THE LITERARY MIND
Page 4 and 5: THE LITERARY MIND MARK TURNER NEW Y
Page 6 and 7: PREFACE I F YOU ARE BROWSING this p
Page 8 and 9: ACKNOWLEDGMENTS T HE JOHN SIMON GUG
Page 12 and 13: THE LITERARY MIND
Page 14 and 15: 1 BEDTIME WITH SHAHRAZAD T HERE WAS
Page 16 and 17: BEDTIME WITH SHAHRAZAD 5 future, of
Page 18 and 19: BEDTIME WITH SHAHRAZAD and projecti
Page 20 and 21: BEDTIME WITH SHAHRAZAD other fictio
Page 22 and 23: BEDTIME WITH SHAHRAZAD 11 daughter
Page 24 and 25: HUMAN MEANING 13 products of vision
Page 26 and 27: HUMAN MEANING 15 to the category pe
Page 28 and 29: HUMAN MEANING 17 out and picking so
Page 30 and 31: HUMAN MEANING 19 moves the object t
Page 32 and 33: HUMAN MEANING 21 movement when we r
Page 34 and 35: HUMAN MEANING 23 ries of connection
Page 36 and 37: HUMAN MEANING 25 ceptual primitives
Page 38 and 39: BODY ACTION 27 EVENTS ARE ACTIONS g
Page 40 and 41: BODY ACTION 29 In addition to "even
Page 42 and 43: BODY ACTION 31 so as to find such a
Page 44 and 45: BODY ACTION 33 different action-sto
Page 46 and 47: BODY ACTION 35 that change. We can
Page 48 and 49: BODY ACTION 37 cal. Usually, we con
Page 50 and 51: FIGURED TALES 39 projected onto the
Page 52 and 53: FIGURED TALES 41 ACTORS ARE MANIPUL
Page 54 and 55: FIGURED TALES 43 person, the hearer
Page 56 and 57: FIGURED TALES 45 that the eight sta
Page 58 and 59: FIGURED TALES 47 Stories of our int
Page 60 and 61:
FIGURED TALES 49 hear / Time's wing
Page 62 and 63:
FIGURED TALES 51 the nonspatial sto
Page 64 and 65:
FIGURED TALES 53 led to another," "
Page 66 and 67:
FIGURED TALES 55 literary thought b
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W E 5 CREATIVE BLENDS ... nor did A
Page 70 and 71:
CREATIVE BLENDS 59 reinforced by th
Page 72 and 73:
CREATIVE BLENDS 61 BLENDED SPACES I
Page 74 and 75:
CREATIVE BLENDS 63 kind of badness.
Page 76 and 77:
CREATIVE BLENDS 65 John is becoming
Page 78 and 79:
CREATIVE BLENDS 67 from the target;
Page 80 and 81:
CREATIVE BLENDS 69 inference of iro
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CREATIVE BLENDS 71 "barely maintain
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CREATIVE BLENDS 73 tral respect. Th
Page 86 and 87:
CREATIVE BLENDS 75 their towns, and
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CREATIVE BLENDS 77 harvest. We can
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CREATIVE BLENDS 79 ing and harvest,
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CREATIVE BLENDS 81 the actor who ca
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CREATIVE BLENDS 83 and go, or shift
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6 MANY SPACES Nirad Das (an Indian
Page 98 and 99:
MANY SPACES 87 manipulating the inp
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MANY SPACES 89 applied to many spec
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MANY SPACES 91 apply to any target
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MANY SPACES 93 of President Bill Cl
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MANY SPACES 95 However, a second po
Page 108 and 109:
MANY SPACES 97 a tent to be staked
Page 110 and 111:
MANY SPACES 99 jection of stories o
Page 112 and 113:
MANY SPACES 101 die; and he shall r
Page 114 and 115:
MANY SPACES 103 The two Kings marve
Page 116 and 117:
MANY SPACES 105 result that x in a
Page 118 and 119:
MANY SPACES 107 Let us look at a ca
Page 120 and 121:
MANY SPACES 109 Invariance is a glo
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MANY SPACES 111 example, given that
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MANY SPACES 113 When we recognize w
Page 126 and 127:
MANY SPACES 115 cists interested in
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SINGLE LIVES 117 Our sensory appara
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SINGLE LIVES 119 We saw above that
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SINGLE LIVES 121 dreamer experienci
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SINGLE LIVES 123 as something extra
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SINGLE LIVES 125 from a belief, "gr
Page 138 and 139:
SINGLE LIVES 127 beg you to cease h
Page 140 and 141:
SINGLE LIVES 129 without saying a w
Page 142 and 143:
SINGLE LIVES 131 to much anyway, bu
Page 144 and 145:
SINGLE LIVES 133 psychological view
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SINGLE LIVES 135 "Which story was i
Page 148 and 149:
SINGLE LIVES 137 it to project that
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SINGLE LIVES 139 character. In the
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LANGUAGE 141 Pinker, and Paul Bloom
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LANGUAGE 143 "John pushes the ball
Page 156 and 157:
LANGUAGE 145 The abstract story, in
Page 158 and 159:
LANGUAGE 147 structural property of
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LANGUAGE 149 nia, and although the
Page 162 and 163:
LANGUAGE 151 Which of these things
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LANGUAGE 153 explanations. For exam
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LANGUAGE 155 The projection of narr
Page 168 and 169:
LANGUAGE 157 tions like Noun Phrase
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LANGUAGE 159 The cast of "character
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LANGUAGE 161 In its most simplistic
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LANGUAGE 163 and Paul Bloom have ar
Page 176 and 177:
LANGUAGE 165 Chomsky's argument is
Page 178 and 179:
LANGUAGE 167 to members of that com
Page 180 and 181:
NOTES page 3, "There was once a wea
Page 182 and 183:
NOTES 171 page 33, "I feel a hand":
Page 184 and 185:
NOTES 173 page 67, "As we went to p
Page 186 and 187:
NOTES 175 page 120, focus and viewp
Page 188 and 189:
NOTES 177 page 161, "Indeed, althou
Page 190 and 191:
INTRODUCTION TO IMAGE SCHEMAS FURTH
Page 192 and 193:
FURTHER READING ON THE IMAGE SCHEMA
Page 194 and 195:
A la recherche du temps perdu, 45,
Page 196 and 197:
Gradient of spaces and projections,
Page 198:
Talmy, Leonard, 29, 47-48, 161, 179
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