The Literary Mind.pdf

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NOTES page 3, "There was once a wealthy farmer": N. J. Dawood, trans., Tales from the Thousand and One Nights (Harmondsworth, Eng.: Penguin, 1973), p. 20. page 7, C. S. Lewis on parable: See Louis MacNeice's discussion of literary critical perspectives on parable in The Varieties of Parable [The Clark Lectures, 1963] (Cambridge: Cambridge University Press, 1965), p. 5. C. S. Lewis's observations appear in The Allegory of Love (Oxford: Oxford University Press, 1936), p. 44. page 15, "after the fact": After the Fact: Two Countries, Four Decades, One Anthropologist (Cambridge: Harvard University Press, 1995), p. 2. page 16, "How do we recognize objects, events, and stories?": How we learn to partition a stimulus field into concrete objects and to categorize those concrete objects is a central problem of the cognitive sciences that has received only highly speculative answers. Gerald Edelman, in Neural Darwinism and The Remembered Present: A Biological Theory of Consciousness, describes the central difficulty: "The world of stimuli available to a newborn animal does not exist in prior information simply to be manipulated according to a set of rules, similar to those followed by a computer executing a program. While the real stimulus world obviously obeys the laws of physics, it is not uniquely partitioned into 'objects' and 'events.' An organism must contain or create adaptive criteria to develop information allowing such a partition. Until a particular individual in a particular species categorizes it in an adaptive fashion, the world is an unlabeled place in which novelty is frequently encountered." Gerald Edelman, The Remembered Present: A Biological Theory of Consciousness (New York: Basic Books, 1989), p. 41. page 17, "Hanging his head down": W. H. Auden, Collected Poems, ed. Edward Mendelson (New York: Random House, 1976), p. 50, lines 9-12. page 18, "Abstract reasoning": See Mark Turner, Reading Minds: The Study of English in the Age of Cognitive Science (Princeton: Princeton University Press, 1991), chap. 3 and 7. 169
170 NOTES page 18, "William H. Calvin": The Cerebral Symphony: Seashore Reflections on the Structure of Consciousness (New York: Bantam, 1990). page 19, "We recognize small spatial stories on the basis of partial information": The possible mechanisms of such "pattern completion" are the essential subject of a highly influential two-volume work, Parallel Distributed Processing: Explorations in the Microstructure of Cognition, ed. David Rumelhart et al. (Cambridge: MIT Press, 1986). page 21, "Recognizing objects... as having sensations": Conceiving of the mechanisms of sensation also appears to depend upon parabolic projection of image schemas of movement. The most common of these parabolic projections conceives of sensation as the result of small objects moving and hitting the sensory apparatus of the actor, thus making an "impression" or "impinging" upon the sensory apparatus. In antiquity, that sensory apparatus might have been regarded as the soul. In contemporary science, it is more likely to be regarded as the retina, or taste buds, or cilia in the inner ear, or sensory neurons in the skin. The modern theory of taste is a case in which an ancient image-schematic notion of sensation has come to be regarded as literal: The sensory apparatus of taste consists of certain spatial docking stations that allow molecules of only certain shapes to dock. When a molecule of the right shape encounters a docking station that it fits, the result is the particular "taste" of that molecule. page 21, "Aristotle surveys theories": See the opening sections of book 1 of On the Soul. page 23, "His model 'rejects a single anatomical site'": Antonio R. Damasio, "Time-locked multiregional retroactivation: A systems-level proposal for the neural substrates of recall and recognition," Cognition 33 (1989), 25—62. Quotation from p. 26. page 24, "How to Build a Baby": Psychological Review 99:4 (1992), 587-604. pages 26-27, "EVENTS ARE ACTIONS": See George Lakoff and Mark Turner, More than Cool Reason: A Field Guide to Poetic Metaphor (Chicago: University of Chicago Press, 1989); Turner, Reading Minds; George Lakoff, "The Contemporary Theory of Metaphor," in Metaphor and Thought, 2d ed., ed. Andrew Ortony (Cambridge: Cambridge University Press, 1993), pp. 202-51. page 27, "Many were the men": Homer, Odyssey, book 1, lines 3-9. Homeri Opera, vol. 3 (Oxford: Clarendon, 1917), unpaginated. page 29, "modal structure": For a full analysis of the relation of force dynamics to modality, see Eve Sweetser, From Etymology to Pragmatics: Metaphorical and Cultural Aspects of Semantic Structure (Cambridge: Cambridge University Press, 1990). page 30, "The rain set early in to-night": Robert Browning, Poetical Works (London: Oxford University Press, 1940), p. 358.
Page 2 and 3:
THE LITERARY MIND
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THE LITERARY MIND MARK TURNER NEW Y
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PREFACE I F YOU ARE BROWSING this p
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ACKNOWLEDGMENTS T HE JOHN SIMON GUG
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CONTENTS 1 Bedtime with Shahrazad 3
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THE LITERARY MIND
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1 BEDTIME WITH SHAHRAZAD T HERE WAS
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BEDTIME WITH SHAHRAZAD 5 future, of
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BEDTIME WITH SHAHRAZAD and projecti
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BEDTIME WITH SHAHRAZAD other fictio
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BEDTIME WITH SHAHRAZAD 11 daughter
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HUMAN MEANING 13 products of vision
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HUMAN MEANING 15 to the category pe
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HUMAN MEANING 17 out and picking so
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HUMAN MEANING 19 moves the object t
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HUMAN MEANING 21 movement when we r
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HUMAN MEANING 23 ries of connection
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HUMAN MEANING 25 ceptual primitives
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BODY ACTION 27 EVENTS ARE ACTIONS g
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BODY ACTION 29 In addition to "even
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BODY ACTION 31 so as to find such a
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BODY ACTION 33 different action-sto
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BODY ACTION 35 that change. We can
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BODY ACTION 37 cal. Usually, we con
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FIGURED TALES 39 projected onto the
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FIGURED TALES 41 ACTORS ARE MANIPUL
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FIGURED TALES 43 person, the hearer
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FIGURED TALES 45 that the eight sta
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FIGURED TALES 47 Stories of our int
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FIGURED TALES 49 hear / Time's wing
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FIGURED TALES 51 the nonspatial sto
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FIGURED TALES 53 led to another," "
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FIGURED TALES 55 literary thought b
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W E 5 CREATIVE BLENDS ... nor did A
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CREATIVE BLENDS 59 reinforced by th
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CREATIVE BLENDS 61 BLENDED SPACES I
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CREATIVE BLENDS 63 kind of badness.
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CREATIVE BLENDS 65 John is becoming
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CREATIVE BLENDS 67 from the target;
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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
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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
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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
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MANY SPACES 97 a tent to be staked
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MANY SPACES 99 jection of stories o
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MANY SPACES 101 die; and he shall r
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MANY SPACES 103 The two Kings marve
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MANY SPACES 105 result that x in a
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MANY SPACES 107 Let us look at a ca
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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
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MANY SPACES 115 cists interested in
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SINGLE LIVES 117 Our sensory appara
Page 130 and 131: SINGLE LIVES 119 We saw above that
Page 132 and 133: SINGLE LIVES 121 dreamer experienci
Page 134 and 135: SINGLE LIVES 123 as something extra
Page 136 and 137: 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
Page 146 and 147: SINGLE LIVES 135 "Which story was i
Page 148 and 149: SINGLE LIVES 137 it to project that
Page 150 and 151: SINGLE LIVES 139 character. In the
Page 152 and 153: LANGUAGE 141 Pinker, and Paul Bloom
Page 154 and 155: 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
Page 160 and 161: LANGUAGE 149 nia, and although the
Page 162 and 163: LANGUAGE 151 Which of these things
Page 164 and 165: LANGUAGE 153 explanations. For exam
Page 166 and 167: LANGUAGE 155 The projection of narr
Page 168 and 169: LANGUAGE 157 tions like Noun Phrase
Page 170 and 171: LANGUAGE 159 The cast of "character
Page 172 and 173: LANGUAGE 161 In its most simplistic
Page 174 and 175: 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 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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