The Literary Mind.pdf

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FIGURED TALES 41 ACTORS ARE MANIPULATORS Self-powered movement is one fundamental subcategory of body action. A second fundamental subcategory is literal manipulation of physical objects. Manipulation— in this literal sense—can involve grasping, pushing, pulling, shaking, and so on. As infants, we observe that we can reach for an object, grasp it, manipulate it, push it, and shake it. We recognize other objects as intentional actors at least in part on the basis of recognizing them as capable of performing these actions. One of the most common uses of EVENTS ARE ACTIONS is to project stories of bodily grasping and manipulation onto other action stories. EVENTS ARE ACTIONS thus has a second special subset: ACTORS ARE MANIPULATORS. It is a general projection. Specific projections develop from it. Many of them are common and have become conventional. Several of them were noted as separate items by Lakoff and Johnson. Again, the following list of common projections is meant only to suggest possibilities that arise under this general projection; its elements overlap and imply each other. Again, the examples on this list are not mere figures of speech. They are not specific to language but reveal mental processes of parable that show up in both everyday language and literary language because they are general cognitive patterns of projection. In this case, the projections carry a basic abstract story of manipulation onto a different story of action. Actors Are Manipulators He's got his fingers into everything. Hands off my business! Action Is Grasping I took the opportunity. I finally got my hands on that house. States Are Physical Objects He has the nomination in the bag. Love is hard to hold on to. Enjoying or Controlling a State Is Grasping the Object He has a firm grip on the situation. The new contract took my vacation away from me. Change of State Is Change of Grasping I had the game completely in my grasp but then I let it get away from me. He throws his chances away.
42 THE LITERARY MIND Impediments to Action Are Impediments to Grasping I can't have that job. Bob's already got it locked up. Goals Are Physical Objects One Tries to Grasp He's headed for the job of news editor and he is going to get it, and when he does, no one is going to be able to take it away from him. He tried to take the lead. Forgoing a Goal Is Forgoing Grasping the Object One Wishes to Grasp Why don't you put the cruise aside for a while until you can enjoy it? She let that chance go by. Means to Goals Are Aids to Grasping Ask the supervisor to hold that job for you until you are free to take it. Persuade the office to set that trip aside for you so that no one else will take it before you can. Progress toward the Goal Is Improved Positioning for Grasping He is positioning himself 'to snatch that job without anybody's noticing. Quicker Means Are Quicker Ways of Grasping He keeps creeping up on the topic. I think he should ask his boss directly to give it to him. Causes of Action Are Causes of Manipulating an Object He was juggling too many projects and finally had to release some of them to other managers. Again, the pattern is clear. A little looking will uncover many further projections: Effects of Actions Are Effects of Manipulating an Object ("The vicepresidency is up for grabs because Juanita let go of it"), Manner of Acting Is Manner of Grasping ("He seized the opportunity"), and so on and on. BODY TALK The most thorough analysis of a special case of ACTORS ARE MANIPULATORS is Michael Reddy's foundational study of how we project the story of manipulating objects onto the story of communicating. In his detailed 1979 inquiry, which established both the original perspective and much of the methodology of later cognitive scientific work on conceptual projection, Reddy demonstrated that a story of communication is routinely understood by projection from a story of body action, specifically manipulation. One person, the speaker, puts a physical object, the meaning, into a container, language, and sends it along a conduit to another
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 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
Page 110 and 111:
MANY SPACES 99 jection of stories o
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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
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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
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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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