The Literary Mind.pdf

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BODY ACTION 33 different action-story of departure: The soul leaves the body and goes down to Hades. This departure of the soul involves a team of two actors, neither of them Alcestis. Alcestis sees these two actors as she is "dying" on stage. The first actor is an assistant to her departure: Charon, the ferryman, who is waiting to carry her soul over the river Styx. He leans on his pole, calling to her, hurrying her along. "Why are you so slow?" he asks. The other actor, teamed with Charon, attempts to force Alcestis to depart on her parabolic journey from this life. Alcestis says: I feel a hand grasping my hand, Leading me — don't you see him? — leading me To the home of the dead. He has wings; His eyes glow dark under his frowning brow. What are you doing? Let me go. I am treading a fearful path; I am terrified. dyei u' otyei HE no — 01)% open;; — VEKIJCQV £
34 THE LITERARY MIND physical object, or moving near to it so as to reach for it, is a body action accessory to grasping it and therefore to controlling it. These are some of the earliest spatial stories learned by a child. In them, the child is the actor. Grasping a physical object so as to control it often seems to be the central story of the infant imagination. It is common to project action-stories of grasping and controlling physical objects onto other event-stories. Conditions we control and enjoy correspond parabolically to physical objects we grasp, possess, and control. We can say of someone that he has a wonderful office when in fact it is owned legally by his employer; that an opportunity was handed to him on a platter; that he is having a good time; that he grabbed the chance; that he holds a good job. Within the logic of objects and grasping, something reliably within our grasp is subject to our control. When we project an action-story of grasping, we project this logic. Thus we can say of an elected official that he to his voting district in his hip pocket, implying that he controls it. An object that we almost grasp is almost under our control. We project this inference, and so can say of a job candidate that he has one hand on the job but has not yet got it. If something is near enough to us to be grasped and we have not yet grasped it but see no obstruction to doing so, then we are close to controlling it but do not yet control it. Projecting this logic, we can say of a thinker that the solution to the problem he is working on is easily within his reach. We know that a lost or discarded physical object was once in our grasp or reliably within our grasp but is no longer; we controlled it but now do not. Thus we can say that someone lost his job or threw away an opportunity. Something we give away is no longer under our control, so we can say that someone gave up the chairmanship. Something that is taken away is no longer under our control, so we can say that someone's job was taken away. If we grip an object or otherwise make it impossible for someone else to grasp and manipulate the object, then we prevent anyone else from controlling it. Thus we can say that someone has a firm grip on first place or that her grip on the seat in the Senate cannot be broken or that she has the championship all locked up or that he has a lock on her affections. In all of these cases, the spatial body action of grasping is projected onto situations that are not principally bodily or spatial. Projecting the actor from the source story personifies something in the target story. Suppose we map the body action of faking away onto the event-story of becoming unemployed. Then the state of being employed corresponds to a physical object. Enjoying that state corresponds to having the physical object in our grasp. Ceasing to enjoy that state corresponds to having the physical object removed from our grasp. Something causally related to this change of state can be personified as the actor of
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 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
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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
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SINGLE LIVES 131 to much anyway, bu
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SINGLE LIVES 133 psychological view
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SINGLE LIVES 135 "Which story was i
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SINGLE LIVES 137 it to project that
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SINGLE LIVES 139 character. In the
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LANGUAGE 141 Pinker, and Paul Bloom
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LANGUAGE 143 "John pushes the ball
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LANGUAGE 145 The abstract story, in
Page 158 and 159:
LANGUAGE 147 structural property of
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LANGUAGE 149 nia, and although the
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LANGUAGE 151 Which of these things
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LANGUAGE 153 explanations. For exam
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LANGUAGE 155 The projection of narr
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LANGUAGE 157 tions like Noun Phrase
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LANGUAGE 159 The cast of "character
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LANGUAGE 161 In its most simplistic
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LANGUAGE 163 and Paul Bloom have ar
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LANGUAGE 165 Chomsky's argument is
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LANGUAGE 167 to members of that com
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NOTES page 3, "There was once a wea
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NOTES 171 page 33, "I feel a hand":
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NOTES 173 page 67, "As we went to p
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NOTES 175 page 120, focus and viewp
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NOTES 177 page 161, "Indeed, althou
Page 190 and 191:
INTRODUCTION TO IMAGE SCHEMAS FURTH
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FURTHER READING ON THE IMAGE SCHEMA
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A la recherche du temps perdu, 45,
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Gradient of spaces and projections,
Page 198:
Talmy, Leonard, 29, 47-48, 161, 179
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