Cognitive grammar in contemporary fiction /
Saved in:
| Online Access: |
Full text (MCPHS users only) |
|---|---|
| Main Author: | |
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Amsterdam ; Philadelphia :
John Benjamins Publishing Company,
2017
|
| Series: | Linguistic approaches to literature ;
v. 26. |
| Subjects: | |
| Local Note: | ProQuest Ebook Central |
Table of Contents:
- Cognitive Grammar in Contemporary Fiction; Editorial page; Title page; LCC data; Table of contents; Acknowledgements; Chapter 1. Introduction; 1.1 Cognitive Grammar in fiction; 1.2 Methods and texts; 1.2.1 Text choice: Contemporary and postmodern fiction; 1.2.2 Postmodern texts: A stylistic profile; 1.2.3 Online reader reviews; 1.3 Cognitive linguistics in stylistics; 1.4 Structure of book; Chapter 2. Cognitive Grammar: An overview; 2.1 Grammar as meaning; 2.1.1 Grammar as construction; 2.2 CG: Some central concepts; 2.2.1 Trajector and landmark; 2.2.2 Image schemas; 2.2.3 Construal.
- 2.2.4 Grounding construal relationships2.2.5 The compositional path; 2.2.6 Action chains; 2.2.7 Reference points and scanning; 2.2.8 The current discourse space; 2.2.9 Fictive simulation; 2.3 CG as a discourse framework; 2.3.1 Defining discourse; 2.3.2 Scalability; 2.4 CG and other cognitive models; 2.4.1 Text World Theory; 2.4.2 Schema theory; 2.4.3 Deictic shift theory; 2.4.4 Mind-modelling; 2.5 Review; Chapter 3. Action chains and grounding in Enduring Love; 3.1 Introduction; 3.1.1 Action, energy, process; 3.2 Enduring Love; 3.3 Grounding perspective.
- 3.4 Narrative urgency and 'the generation of multiplicity'3.5 Action chains and clausal grounding; 3.5.1 Modality and metaphor; 3.6 Nominal grounding: Schematicity vs. specificity; 3.7 Conclusion: 'What were we running toward?'; 3.8 Review; Chapter 4. The reference point model: Tracking character roles in The New York Trilogy; 4.1 Introduction; 4.1.1 Reference points in fiction; 4.2 The New York Trilogy and the postmodern quest; 4.2.1 Layers and targets; 4.3 Reader response: Tracking character roles; 4.4 (R)evoking targets; 4.5 Conclusion: 'The story is not in the words.
- It's in the struggle'4.6 Review; Chapter 5. Interrelated references and fictional world elaboration in Coraline; 5.1 Introduction; 5.2 Construal: Production and reception; 5.2.1 Construction schemas; 5.3 Elaboration and world comparison: The 'other world' of Coraline; 5.3.1 Elaborative relationships; 5.4 Reading Coraline; 5.5 Resistance and identification; 5.5.1 Reader response: Character; 5.5.2 Reader response: Fictional world; 5.6 Conclusion: 'It was so familiar
- that was what made it feel so truly strange'; 5.7 Review; Chapter 6. Mind-modelling perspective in 'Great Rock and Roll Pauses'
- 6.1 Introduction: Visual attention in cognitive linguistics and CG6.2 'Great Rock and Roll Pauses'; 6.2.1 Mind-modelling perspective; 6.3 CG and multimodality; 6.4 Event frames; 6.5 Multimodal perspective in 'Great Rock and Roll Pauses'; 6.5.1 Attentional windowing; 6.5.2 Speech presentation; 6.5.3 Viewing arrangements and conceptual distancing; 6.6 Conclusion: 'Music first, and then the pause'; 6.7 Review; Chapter 7. Scanning the compositional path of 'Here We Aren't, So Quickly'; 7.1 Introduction; 7.1.1 Scanning paths; 7.2 'Here we aren't, so quickly'
