The Literary Mind.pdf

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NOTES 175 page 120, focus and viewpoint in linguistics: See, for taxonomies of linguistic phenomena involving focus and viewpoint, and for surveys of scholarship on these issues, Ronald Langacker, Foundations of Cognitive Grammar, vol. 1, Theoretical Prerequisites, (Stanford: Stanford University Press, 1987), pp. 122-26; Eve Sweetser and Gilles Fauconnier, "Cognitive Links and Domains," chap. 1 in Spaces, Worlds, and Grammar, ed. Gilles Fauconnier and Eve Sweetser (Chicago: University of Chicago Press, 1996); and Fauconnier, chap. 3 in Mappings in Thought and Language. See also Ronald Langacker, "Reference-Point Constructions," Cognitive Linguistics 4, no. 1 (1993): 1-38. page 120, "Then the memory of a new position": I provide in this translation an unidiomatic crib in English of the relevant sequence of tenses in the French original. An idiomatic translation can be found in the already-cited translation (Moncrieff, Kilmartin, and Mayor) of Proust's Remembrance of Things Past, vol. 1, p. 7. French original: Proust, A la recherche du temps perdu, vol. 1, pp. 6-7. page 123, "counterpart in another space": The foundation work on the use of a descriptor from one space for a counterpart in another space was done by Gilles Fauconnier in Mental Spaces: Aspects of Meaning Construction in Natural Language (Cambridge: MIT Press, 1985). page 132, "We may become engrossed, in Erving Goffman's phrase": "Breaking Frame," chap. 10 in Frame Analysis: An Essay on the Organization of Experience (Boston: Northeastern University Press, 1986), pp. 345-77. page 132, "To be quite accurate": Marcel Proust, Remembrance of Things Past, 2 vols., trans. C. K. Scott-Moncrieff (New York: Random House, 1934), vol. 1, pp. 708-9. (A quite different translation can be found in the 1981 three-volume Random House edition (translated by Moncrieff, Kilmartin, and Mayor), vol. 1, p. 1010.) French original: "Pour etre exact, je devrais donner un nom different a chacun des moi qui dans la suite pensa a Albertine; je devrais plus encore donner un nom different a chacune de ces Albertine qui apparaissaient devant moi, jamais la meme . . ." A la recherche du temps perdu, vol. 2, p. 299. page 133, "The Nature of Things": See Lakoff and Turner, More than Cool Reason, pp. 169-70, and Turner, Reading Minds, pp. 168 and 183-89. page 133, "Theophrastus's Characters": ed. and trans. Jeffrey Rusten (Cambridge: Harvard University Press [Loeb], 1993). pages 133-34, "La Bruyere's Les Caracteres": ed. Robert Garapon (Paris: Gamier, 1962). page 134, Jerome Braner: Actual Minds, Possible Worlds (Cambridge: Harvard University Press, 1986), p. 37.
176 NOTES page 134, "You see I don't know any stories": J. M. Barrie, Peter and Wendy, edited with an introduction by Peter Hollindale (Oxford: Oxford University Press, 1991), p. 96. page 135, Wayne Booth: Booth, The Rhetoric of Fiction, chaps. 2-5, pp. 23-148. page 138, "The moth thought [the star] was just caught": James Thurber, Fables for Our Time and Famous Poems Illustrated (Harper and Row, 1939), p. 17; Sun, "Thurber's Fables for Our Time," pp. 51-61. page 140, "Linguistics is arguably the most hotly contested properly": "Annals of Science: A Silent Childhood-I," New Yorker, 13 April 1992, 48. page 140, "The type of sentence in nature": Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound (San Francisco: City Lights, 1936), p. 12. page 145, "grammatical construction": For introductions to the theory of grammatical constructions, see Charles Fillmore and Paul Kay, Construction Grammar (Stanford, Calif.: Center for the Study of Language and Information, in press); and Adele Goldberg, Constructions: A Construction Grammar Approach to Argument Structure (Chicago: University of Chicago Press, 1995). page 149, Robert Binnick: Time and the Verb: A Guide to Tense and Aspect (New York: Oxford University Press, 1991), p. vii. page 152, "past time reference is the basic meaning of the past tense": Bernard Comrie, Tense (Cambridge: Cambridge University Press, 1985), p. 20. page 152, "As far as the present tense is concerned": Comrie, Tense, p. 38. page 152, Elements of Symbolic Logic: Hans Reichenbach, Elements of Symbolic Logic (New York: Free Press and London: Collier-Macmillan, 1947). page 152, John Dinsmore: Interdisciplinary Approaches to Language: Essays in Honor of S.-Y. Kuroda, ed. Carol Georgopoulos and Roberta Ishihara (Dordrecht: Kluwer, 1991), pp. 101-17. Quotation from p. 104. page 152, Norbert Hornstein: As Time Goes By: Tense and Universal Grammar (Cambridge: MIT Press, 1990), p. 11. page 153, "A certain property (namely, going to work)": Comrie, Tense, p. 39. page 153, "Rather, it seems that such uses of the past": Comrie, Tense, p. 20. page 158, "the crucial actions those characters are part of": Joseph M. Williams, Style: Toward Clarity and Grace, with two chaps, coauthored by Gregory Colomb (Chicago: University of Chicago Press, 1990), pp. 20-21. page 160, "Edelman rejects on neurobiological grounds": Gerald Edelman, Bright Air, Brilliant Fire: On the Matter of the Mind (New York: Basic Books, 1992), chap. 11. page 161, Charles Fillmore and Paul Kay: Construction Grammar. page 161, Adele Goldberg: Constructions.
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
Page 12 and 13:
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
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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
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 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 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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