The Literary Mind.pdf

More documents

Recommendations

Info

A la recherche du temps perdu, 45, 82, 120 A Leg to Stand On (Oliver Sacks), 44 A THINKER IS A MOVER AND A MANIPULATOR, 43-45, 50 Absolute tenses, 151 Accusative language, 156 Actor, 10, 22 ACTORS ARE BODY ACTORS, 38 ACTORS ARE MANIPULATORS, 41-43 ACTORS ARE MOVERS, 39, 43 ACTORS ARE MOVERS AND MANIPULATORS, 43 Actors, prototypical, 20 Adaptiveness, environment of evolutionary, 167 Aesop's Fables, 6, 139 Agency, 20 Al-Ashar (The Thousand and One Nights), 126, 130 Akestis, 31-32, 77, 78 Alice's Adventures in Wonderland, 57 Allegory, 92 Analogy, 93 Animacy, 20-22 Animate agent, 22, 133 Apollo and the shipmates (Odyssey), 33 Aristotle, 21; on language, 160 Artificial life, 95 Ascent of Mount Carmel, The, 44 Augustine of Hippo, Saint, 116 Balance image-schema, 16 Basic level, 24 Basic metaphor, 91 INDEX 183 "Being Leads to Doing," 133 Bertran de Born, 61-63, 68 Bible, 53 Bickerton, Derek, 162 Binding problem, 110, 179 Binnick, Robert, 149 Biography, 136 Birth, story of, 52 Blake, William, 53 Blended space, 60—61; composition, completion, and elaboration in, 83-84; linguistic marks of, 66; visual representations of, 97—98 Blending, 60-61; and the brain, 109; in the development of scientific concepts, 96; and neuroscience, 110 Bloom, Paul, 141, 163-65 Booth, Wayne, 74-75, 135 Bounded interior, 16 Browning, Robert, 30 Brugman, Claudia, 16, 179 Bruner, Jerome, 134 Bunyan, John, 44 Burke, Kenneth, 134 Calvin, William, 18 Caracteres, Les, 134 Carroll, Lewis, 57 Category, 9-10, 14; and analogy, 93; basiclevel, 180; of concrete objects, 169 n; conventional, 93; object vs. event, 14; perceptual, 111 Causal relation, 18
Causal tautology, 32, 78 Causative construction, 156 Caused motion, 21-22; construction, 103 Character, 132-34; blended, 136 Charlotte Summers, 74 Charts, diagrams, coins, maps, 97 Chinese Written Character as a Medium for Poetry, The, 140 Chomsky, Noam, 140, 161-64 Colomb, Gregory. See Williams, Joseph Colston, Herbert L., 179 Completion in blended space, 83—84 Composition in blended space, 83-84 Comrie, Bernard, 152-53, 161 Concept, 57; of a concept, 106; essential but invented, 14 Conduit metaphor, 42 Confessions (Saint Augustine), 116 Consciousness, 6 Constraints on projection, 53 Construction, linguistic, 88, 103; blend, 88, 93; and blending, 97; causative, 156; caused-motion, 103; ditransitive, 157; and metonymy, 155; as representation of basic abstract story, 103; resultative, 157; sentential, 158; XYZ, 104-7 Container image schema, 14—16, 23 Convergence zone, 23, 111, 180 Coulson, Seana, 58, 172 n Counterparts in projection, 10, 86 Creole language, 162 Damasio, Antonio R., 23, 111, 179; and Hanna Damasio, 180 Dante, 44, 61-63, 67; and blending, 64 "Dark Night of the Soul, The," 44 Dark Night, The, 44 David, King of Judah and Israel (Old Testament), 100 Dawood, N. J., 169 n DEATH IS A MOVER AND MANIPULATOR, 47 Death Is the Mother of Beauty, 53 Death, 77; as Thanatos, 76; as The Grim Reaper, 76-81 Death-in-general, 32-33, 68, 77-80 Dinsmore, John, 152 Discourse grammar, 159 184 INDEX Discourse units, 158 Ditransitive construction, 157 Divine Comedy, 6, 44 Dunker, Carl, 72 Edelman, Gerald, 23, 110-12, 160, 169 n, 180-81 Elaboration in blended space, 83—84 Emblem, 10, 101 "En una noche oscura," 44 Epithets, 6 Espenson, Jane, 47 Euripides, 31 Evaluation, 9, 20 Event shape, 28 Events, 9; nonspatial, 36 EVENTS ARE ACTIONS, 26-47, 77-78, 80, 96 EVENTS ARE BODY ACTORS, 45 EVENTS ARE MANIPULATORS, 46 EVENTS ARE MOVERS, 46 EVENTS ARE MOVERS AND MANIPULATORS, 46- 47 EVENTS ARE SPATIAL STORIES, 47 Everyman, 6 Explanation, 9, 20 Faerie Queene, 7 Fauconnier, Gilles, 58, 67, 161 Fenollosa, Ernest, 140, 160 Fillmore, Charles, 161 Focus, 117, 122, 134; spatial and temporal, 149 Force dynamics, 16, 179; grammaticalized in English, 161 Freeman, Donald C., 171 n Futuric present, 151 Gaily, J. A., 180 Geertz, Clifford, 15 GENERIC IS SPECIFIC, 87 Generic space, 86-94, 102, 136 Gibbs, Raymond W., Jr., 179 God's-eye view, 15 Goffman, Erving, 132 Goldberg, Adele, 103, 161 Gordon, S. E., 180 Gower, John, 53
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 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 196 and 197: Gradient of spaces and projections,
Page 198: Talmy, Leonard, 29, 47-48, 161, 179
show all

The Literary Mind.pdf

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?