scholarly journals Creating Communicative Space and Textual Reality via Emotiogenic Means in Fictional Discourse

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Andrii Bezrukov ◽  
◽  
Oksana Bohovyk
Keyword(s):  
Cognitive Architecture ◽  
Salman Rushdie ◽  
Literary Texts ◽  
Emotional Impact ◽  
Kazuo Ishiguro ◽  
Stephen King ◽  
Emotional Perception ◽  
Literary Narrative ◽  
Emotional Knowledge ◽  
Communicative Space

The article focuses on the strategies of reconstructing communicative space between the author and reader as well as forecasting the emotional impact on the reader through transforming textual reality. The emotiogenic characteristics of fictional discourse provide the emotional perception of literary texts since emotions are central to the experience of literary narrative fiction. Such a perception is made possible by the identification, comprehension, and interpretation of the emotionally significant textual components of different types. The authors of the article have classified them as the following: graphical and visual, punctuation, and semantic-stylistic ones. These means, found in the postmodern novels by Salman Rushdie, Tahereh Mafi, Marina Lewycka, Kazuo Ishiguro, Alexandar Hemon, and Stephen King, have been analysed to explicate the character of the phenomenon of emotiogenic fictional narratives. The emotiogenic means in the selected novels are exploited by the writers of different ethnic affiliations that can be resulted from their multicultural experience. The superimposition of some means is explained by their semantic relationship. The article tests a hypothesis that the cognitive architecture of the emotiogenic means is determined by an emotional situation reflected in a literary text that appears to be a special code through which readers interpret their emotional and evaluative meanings. The indicators of the text’s emotionality occur to be signs of the textual representation of emotional knowledge. This study contributes to the investigation of the emotiogenic means of creating communicative space which are considered those discursive expressive elements that affect the perception of textual reality.

scholarly journals Why do we accept a narrative discourse ascribed to a “third-person narrator” as true? The classical, and a cognitive approach

Semiotica ◽  
2015 ◽  
Vol 2015 (203) ◽  
Author(s):  
Erzsébet Szabó
Keyword(s):  
Cognitive Architecture ◽  
Narrative Discourse ◽  
Narrative Comprehension ◽  
Cognitive Approach ◽  
States Of Affairs ◽  
Linguistic Representation ◽  
Free Representation ◽  
Third Person ◽  
Literary Narrative

AbstractThe aim of the present paper is to discuss the question of why readers accept a literary narrative discourse attributed traditionally to an “omniscient third-person narrator” unconditionally as true. I will advocate two theses. First, that this characteristic of narrative comprehension is a consequence of a grammatical feature of the narrative discourse, namely, the absence of the “narrating-I.” This format mimics what Cosmides and Tooby label as scope-free representation, i.e., a representation that is not bound by scope-operators and thus treated by a cognitive architecture as architecturally true. Second, narrative discourse ascribed traditionally to a third person narrator should be understood as the linguistic representation of the true states of affairs of a narrative world.

scholarly journals Creativity оf Advertising Aesthetics in Generating New Fiction Texts

2021 ◽  
pp. 182-196
Author(s):  
Alla Sazhyna
Keyword(s):  
Driving Force ◽  
Literary Texts ◽  
Original Text ◽  
Perfect Form ◽  
The Aesthetic ◽  
Communicative Space ◽  
Semantic Parameters

The article under studies deals with the creative possibilities of an advertising text within modern arts. It is generally recognized that the main purpose of advertising is to turn a recipient into a consumer. The advertisers achieve this goal through implementing the four consecutive stages of affecting the receptive consciousness: drawing attention, arousing interest, stimulating desire and encouraging action, which requires a perfect form of presentation. For successful achievement of the above results, the advertisers use rational, emotional, logical, psychological and aesthetic means of persuasion all together. Consequently, advertisement, as a peculiar synthetic type of “aestheticized pragmatics”, does not reject the aesthetic constituent. In the course of perceiving an advertising text, there might occur certain teleological deviations: when the aesthetic component of advertising comes out in the receptive consciousness in the first place, the advertising text can acquire new semantic parameters and be transformed into a qualitatively different text. In this way, most advertising slogans are usually considered. Being separated from the original text, they turn into independent messages (such as proverbs, sayings, phraseologisms) and enter the flow of the contemporary communicative space of speech. Other phenomena, generated by the aesthetics of an advertising text, are numerous anecdotes and comedic sketches, which parody plot structures, themes, images and specifics of the speech of advertising texts, as well as act as autonomous genres. The article under discussion regards the generation of a new text as a free game within aesthetic communication, whereby the author (the advertiser) and the recipient (the consumer) become equally successful partners. In addition, the article contains the analysis of certain samples, in which the aesthetics of an advertising text annihilates its immanent utilitarian form and creates an independent fiction text. Thus, the aesthetic component of an advertising text turns into a particular creative motive, a driving force in generating new literary texts.

scholarly journals RESEPSI SISWA MADRASAH TSANAWIYAH KABUPATEN BANTUL TERHADAP CERPEN REMAJA PADA SURAT KABAR KEDAULATAN RAKYAT

2019 ◽  
Vol 3 (1) ◽  
pp. 1
Author(s):  
Siska Yuniati ◽  
Burhan Nurgiyantoro
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Literary Texts ◽  
Emotional Impact ◽  
Making Meaning ◽  
Emotional Aspect ◽  
Significant Difference ◽  
Emotional Aspects ◽  
Literary Reception

Literary reception encompasses reader’s role in making meaning from literary texts. Student’s reception of teenage short story can give an idea of student’s acceptance of this type of text. This is interesting because students as teenagers are rarely involved in responding to teenage short stories, particularly ones available in newspapers. This research aims to examine the reception of teen short stories in the Kedaulatan Rakyat Newspaper by students of Madrasah Tsanawiyah in Bantul Regency in terms of intellectual and emotional aspects. Respondents in this study are 128 students of MTsN 1 Bantul, MTsN 3 Bantul, MTsN 4 Bantul, MTs Al Falah, and MTs Hasyim Asy'ari. The data were collected using a reception questionnaire focusing on intellectual and emotional aspects. The results of the study are as follows. First, in terms of intellectual aspect, the students’ reception of teen short stories in Kedaulatan Rakyat is high (70.82%), moderate (15.62%), and low (13.58%). Second, in terms of emotional aspect, the students’ reception of teen short stories in this newspaper is high (38.86%), moderate (20.28%), and low (40.86%). Fourth, there is no significant difference between the reception of students from state madrasah and private madrasah. Based on the results of this study, it can be concluded that students of class IX of Madrasah Tsanawiyah, Bantul Regency can understand well the elements of story builders and the structure of short story, language, themes, and conflicts in the short story. Students also understand the logic of the story in the text and feel the tension of the conflict. The new values in the short stories and actions of the main characters are quite acceptable to students. Students are also interested enough to discuss the short stories further. Meanwhile, most students felt less emotional impact and do not feel the tension presented in the short story.

Was Dust Their Food and Clay Their Bread? Grave Goods, the Mesopotamian Afterlife, and the Liminal Role of Inana/Ishtar

2007 ◽  
Vol 7 (1) ◽  
pp. 7-65 ◽  
Author(s):  
Caitlín Barrett
Keyword(s):  
Literary Texts ◽  
Archaeological Evidence ◽  
Life And Death ◽  
Way Of Thinking ◽  
Literary Narrative ◽  
Grave Goods

AbstractMany literary texts portray the Mesopotamian netherworld as unrelievedly bleak, yet the archaeological evidence of grave goods suggests that there may also have existed an alternative way of thinking about the afterlife. An analysis of the types of objects found in burials indicates that many people may have anticipated a less harsh form of existence after death. Furthermore, iconographic allusions to the goddess Inana/Ishtar in certain burials raise the possibility that this deity may have been associated with the descent of human dead to the netherworld. The occasional presence of her image and iconography in funerary contexts does not necessarily imply a belief that Inana/Ishtar would personally grant the deceased a happy afterlife, but it may provide an allusion to her own escape from the undesirable netherworld of literary narrative. Inana/Ishtar's status as a liminal figure and breaker of boundaries also may have encouraged Mesopotamians to associate her with the transition between life and death.

scholarly journals Emotional perception of COVID-19 in Mexico: Comparative study between phase 1, phase 2 and the media

2021 ◽  
Author(s):  
Isaías Vicente Lugo-González ◽  
Yuma Yoaly Pérez-Bautista ◽  
Ana Leticia Becerra-Gálvez ◽  
Margarita Fernández-Vega ◽  
Leonardo Reynoso-Erazo
Keyword(s):  
Comparative Study ◽  
Phase 1 ◽  
Illness Perception ◽  
Emotional Responses ◽  
Emotional Impact ◽  
Phase 2 ◽  
Emotional Perception ◽  
The Media ◽  
Information Media ◽  
A Chain

Background: Since the first COVID-19 cases in Mexico there have been a variety of emotional responses that have in common fear and stress. The emotional impact of COVID-19 is built in some way because the information flooding parallels the pandemic phases, the transition between them, and illness perception. The aim of the present work was to compare the perception of COVID-19 between phases 1 and 2 of the pandemic and between the information media used to inform themselves in the Mexican population. Methods: Considering a chain sampling, a comparative study was carried out in which an evaluation battery was disseminated through email and social networks, which was answered by 1560 participants. Results: The concern about the consequences of COVID-19 and its emotional impact increased when going from phase 1 to phase 2 of the pandemic. In addition, it was identified that the emotional impact was greater in those who reported through Facebook® and television. Conclusions: The pandemic will have a progressive emotional impact as its phases progress and the importance of informing oneself in adequate means to prevent emotional consequences.

scholarly journals When not to tell stories: Unnatural narrative in applied narratology

2018 ◽  
Vol 4 (1) ◽  
pp. 6-20
Author(s):  
Sjoerd-Jeroen Moenandar
Keyword(s):  
Salman Rushdie ◽  
Literary Fiction ◽  
Professional Practices ◽  
Traumatic Experiences ◽  
Academic Fields ◽  
Narrative Tradition ◽  
Midnight's Children ◽  
Unnatural Narrative ◽  
Literary Narrative ◽  
Günter Grass

AbstractInterest in literary fiction and literary theory from other academic fields and professional practices of storytelling has often been limited to what we could call an Aristotelian narrative approach, with its emphasis on coherence and closure. In this paper, I critically assess interdisciplinary applications of narratological theory as being too limited. After all, literature also offers an alternative narrative tradition, that of, anti-mimetic or ‘unnatural’ narratives. This tradition could enrich what is referred to in this paper as ‘applied narratology’: the transfer of narratological methods and findings to professional practices of narrative. When faced with the confusion of border experiences (Bühler), the institutionalised exclusion of otherness or traumatic experiences, we can greatly benefit from unnatural narrative, which exemplifies how coherence and closure can become oppressive. I also explore the example of The Long Awaited, a novel by Dutch-Moroccan author Abdelkader Benali, which together with The Tin Drum by Günter Grass and Midnight’s Children by Salman Rushdie forms the minor literary tradition of ‘the tragic picaro’, a specific type of unnatural narrative. It is argued that such literary narrative experiments may offer interesting models for interdisciplinary applications of narratological theory.

Scale-free architectures support representational diversity

2020 ◽  
Vol 43 ◽  
Author(s):  
Chris Fields ◽  
James F. Glazebrook
Keyword(s):  
Cognitive Architecture ◽  
Levels Of Abstraction ◽  
Scale Free ◽  
Abstract Representations ◽  
Computational Architecture ◽  
Architectural Models ◽  
Cognition Scale

Abstract Gilead et al. propose an ontology of abstract representations based on folk-psychological conceptions of cognitive architecture. There is, however, no evidence that the experience of cognition reveals the architecture of cognition. Scale-free architectural models propose that cognition has the same computational architecture from sub-cellular to whole-organism scales. This scale-free architecture supports representations with diverse functions and levels of abstraction.

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