- 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 10 and 11:
CONTENTS 1 Bedtime with Shahrazad 3
- 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
- Page 68 and 69:
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
- Page 82 and 83:
CREATIVE BLENDS 71 "barely maintain
- Page 84 and 85:
CREATIVE BLENDS 73 tral respect. Th
- Page 86 and 87:
CREATIVE BLENDS 75 their towns, and
- Page 88 and 89:
CREATIVE BLENDS 77 harvest. We can
- Page 90 and 91:
CREATIVE BLENDS 79 ing and harvest,
- Page 92 and 93:
CREATIVE BLENDS 81 the actor who ca
- Page 94 and 95:
CREATIVE BLENDS 83 and go, or shift
- Page 96 and 97:
6 MANY SPACES Nirad Das (an Indian
- Page 98 and 99:
MANY SPACES 87 manipulating the inp
- Page 100 and 101:
MANY SPACES 89 applied to many spec
- Page 102 and 103:
MANY SPACES 91 apply to any target
- Page 104 and 105:
MANY SPACES 93 of President Bill Cl
- Page 106 and 107:
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
- Page 122 and 123:
MANY SPACES 111 example, given that
- Page 124 and 125:
MANY SPACES 113 When we recognize w
- Page 126 and 127:
MANY SPACES 115 cists interested in
- Page 128 and 129:
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 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 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