The Literary Mind.pdf

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FURTHER READING ON THE IMAGE SCHEMAS 181 IMAGE SCHEMAS IN DEVELOPMENTAL PSYCHOLOGY Edelman, Gerald. Postscript to Bright Air, Brilliant Fire: On the Matter of the <strong>Mind</strong>. New York: Basic Books, 1992. Mandler, Jean M. "How to Build a Baby: II. Conceptual Primitives." Psychological Review 99, no. 4 (1992): 587-604. . "How to Build a Baby: On the Development of an Accessible Representational system." Cognitive Development 3 (1988): 113-36.
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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
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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
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SINGLE LIVES 127 beg you to cease h
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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 188 and 189: NOTES 177 page 161, "Indeed, althou
Page 190 and 191: INTRODUCTION TO IMAGE SCHEMAS FURTH
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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