The Literary Mind.pdf

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BODY ACTION 37 cal. Usually, we conceive of an idea as neither physical nor spatial. Nor do we routinely conceive of it as a literal actor. But an idea can correspond parabolically to an actor in a spatial action-story. The idea can become, parabolically, an actor performing a spatial action, as when we say, "An idea came to me unbidden," "An idea seized me," or "An idea grabbed hold of me." We can turn our thoughts parabolically into actors of movement who "elude" us or "outrun our ability to express them." So far, we have considered cases where the source story is a spatial story of body action. We have seen that such a source story can be projected onto stories of spatial action with actors, onto stories of spatial events without actors, and onto stories of nonspatial events. We will see in what follows that the scope of projection of spatial stories is much wider still.
FIGURED TALES Memory would come like a rope let down from heaven to draw me up out of the abyss of not-being, from which I could never have escaped by myself. 4 Marcel Proust, Remembrance of Things Past Mind like a floating white cloud Ezra Pound, Cantos Time hath, my lord, a wallet at his back Wherein he puts alms for Oblivion. William Shakespeare, Troilus and Cressida How all occasions do inform against me. William Shakespeare, Hamlet The fundamental things apply As time goes by. Herman Hupfeld ACTORS ARE BODY ACTORS EVENTS ARE ACTIONS guides us in projecting a story of action onto any kind of event-story, whether it has actors or not. The projected action is usually body action. The target event may be spatial or not. We have seen a story of chewing projected onto a story of damage in the copy machine, a story of beating 38
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 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
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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
Page 108 and 109:
MANY SPACES 97 a tent to be staked
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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
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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
Page 140 and 141:
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
Page 162 and 163:
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
Page 168 and 169:
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
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
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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
Page 192 and 193:
FURTHER READING ON THE IMAGE SCHEMA
Page 194 and 195:
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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