scholarly journals From the History of Cognitive Linguistic Approaches in Russian and Western- European Poetics

2019 ◽  
Vol 37 (2) ◽  
pp. 128-135
Author(s):  
V. V. Feshchenko

The article provides an overview of some recent works on cognitive poetics. Of particular interest are studies close to linguistic problematic of cognition in literary texts. A separate analysis tackles the case from the history of Russian thought about language and poetry – the theory of artistic (poetic) concepts by the Russian philosopher S. А. Askoldov. The paper also considers conceptions of Western-European linguists that emerged at the peak of the “cognitive turn” in the 1970s: theories of T. van Dijk and J. Lakoff – M. Turner, as well as criticism of these works by the Israeli literary critic R. Tsur; the approaches of P. Stockwell (author of the theory of deictic shifts), the Sheffield School of Text Worlds Analysis (J. Gavins, A. Gibbons), and M. Freeman (applications of cognitive linguistics to the study of literary text).

Slavic Review ◽  
2009 ◽  
Vol 68 (2) ◽  
pp. 229-237 ◽  
Author(s):  
Jan Plamper

Recent scholarship in the humanities and social sciences is awash with emotions. Affective social science, the cognitive poetics of emotion, the philosophy of emotions, the history of emotions, and the outer markers of institutionalization and professionalization—conferences, research clusters, dissertations, publications—together create a solid impression: this is a “turn,” if there ever was one.It appears that this turn has reached Slavic studies. That it has taken so long may seem surprising. After all, in the western European imagination, “the east,” and Russia as a part thereof, has long been linked with emotion—so unmediated and untrammeled that an indication of quantity sufficed as a description: too much emotion, extreme emotion, rather than a different kind of emotion. Whence the current emotional turn? Let me briefly map some of the roads that led to it.


2009 ◽  
Vol 50 (4) ◽  
Author(s):  
Luna Beard ◽  
Jaqueline S. du Toit

Abstract This paper presents cognitive poetics as an agent in overcoming difficulties in translating bible stories for young children in the multi-lingual and multi-cultural South African environment. The translated picture book texts typically involve the integration of words with pictures. For the purposes of this article, the Genesis 28 narrative of Jacob’s dream in the Hebrew source text is compared in various South African translations. Religious literature was chosen as subject matter because of the relative certainty of comparative translations in most of the eleven official languages of South Africa, but the present article is limited mainly to English and Afrikaans translations. The analysis is done within the fairly new framework of cognitive poetics, which combines psychological and cognitive linguistic approaches to the study of literature. The focus is on the contribution of cognitive linguistics to the translation of children’s literature, in the spirit of proactive translatology.


2021 ◽  
Author(s):  
Tímea Borbála Bajzát ◽  
Botond Bálint Szemes ◽  
Eszter Szlávich

The corpus of the Hungarian novel created at the ELTE Department of Digital Humanities offers new methodologies for the philological research and “distant reading” approaches by providing a digitized, annotated and searchable database of freely accessible novels from the Hungarian literary history. The database fits organically into the international collection of the ELTeC COST Action Project (European Literary Text Collection https://www.distant-reading.net/eltec/), since the first 100 novels of the database are part of the Hungarian sub-corpus of that collection. Beside the description of the corpus and the aspects of the selection, the paper also reports in detail on the possibilities of the quantitative analysis of the novels. In doing so, we want to present what kind of knowledge of the Hungarian literary history can be produced by applying statistical and linguistic approaches, and what role these methods can play in the process of the interpretation of the texts. Through the visualized tendencies, a new history of the style of the Hungarian prose can be outlined, while the peculiarities of some texts in relation to others can lead to the description of the poetics of the given authors and their novels.


2019 ◽  
pp. 100-104
Author(s):  
Bogdana Goncharenko

The article examines the traditions of Polish literary of positivism in the context of the Polish-Ukrainian bor- derland. The issues of collective identity in the context of literary models of images and concepts of both Own and Strange, as artistic markers of the polyethnic society of the Ukrainian and Polish peoples of this epoch are also considered. Draws attention to the processes of changing the image of a Ukrainian as another in the Polish literary text. Beginning with the first written references to the cultural and historical dialogue between the two ethnic groups, the Ukrainian- Polish ties have changed. These are the influences of the Ukrainian language in Polish literary texts as far back as the XVI century. The Cossacks’ interest in this period, especially in the context of wars with Cossacks and Turks, is intensifying during this period. The Ukrainian-Polish cultural discourse is considered in the context of the communicative relations of His-Other, while changing the cognitive completeness of both terms during the history of relations and coexistence of both peoples in the his- torical retrospection. Understanding the cultural Polish-Ukrainian frontier as a result of the joint efforts of the participants in the cul- tural process, which created a separate world picture of specific codes of intercultural communication, current research on these phenomena is being conducted by modern scholars, in particular, in the context of artistic markers of the polyethnic society of this epoch of Own– Strange – Another at the end of the nineteenth century. are obviously funda- mentally different from their interpretation in the era of romanticism and in the works of Polish romantic writers of the “Ukrainian school”. In comparative aspect of the research work compares the dynamics of the processes in Polish and Ukrainian lit- erature of the ХІХ century, their typology taking into account the absorption positivist ideas of systematic features of the phenomenological paradigm of ethnic and cultural artistic patterns in both literatures, defined the aesthetic specificity of interethnic positivism, given the special condition of the ХІХ century society, ethnicity and culture of both peoples.


Author(s):  
Pramod K. Nayar

The field of human rights (HR) and literature has expanded in the last two decades. Fiction, poetry, memoirs, and graphic novels with HR themes have been examined, and also cognate fields like popular culture and HR, humanitarianism, and the history of HR itself. The literary, with its emphasis on the human ‘subject,’ the formation of this subject, and the hurdles that confront its formation, is appropriate for the study of how humans are conceptualized as deserving (or not) of rights, and the conditions in which the human loses her humanness. Victims, perpetrators, and bystanders are characters in literary texts that critics study as models of subjectivity. The literary text asks us to imagine the nature of the human person, the universal state of human vulnerability, and the situations in which this vulnerability is prised open for exploitation. The entries here consist of those that engage directly with literary texts but also with frames, contested and debated, that define the human, and without which a rights regime cannot be put in place or modified. Forms and aesthetics that are central to the documentation, witnessing, and communicating the urgency of HR themes in various genres are also necessarily a part of this bibliography. Various forms and genres in literature—across ages, geocultural formations, and nations—have addressed the theme of HR, explicitly or implicitly. The war novel, for instance, is more concerned with mass HR violations such as genocide, rape, and continuing trauma. The child-abuse novel is focused on individual HR. Plays by authors like Ariel Dorfman, (e.g., his Resistance trilogy) use theatre to speak of unspeakable horrors like torture. In the late 20th century, especially in the wake of Art Spiegelman’s pioneering Maus, numerous graphic novels, comics, and pieces of comics journalism have sought to document atrocity and HR. Testimonial texts and fiction by victims have constituted a globally visible genre, again since the last half of the 20th century.


2018 ◽  
Vol 27 (3) ◽  
pp. 196-217 ◽  
Author(s):  
Josephine M Guy ◽  
Kathy Conklin ◽  
Jennifer Sanchez-Davies

A tendency by literary stylisticians to overlook the role of the author in the generation of literary meaning has been a significant source of tension between linguistic approaches to literariness and other practices in the discipline, such as text-editing and literary biography. Recently, however, efforts have been made to close this gap, with a branch of stylistics, cognitive poetics, claiming to have developed a new and empirical method of integrating an appreciation of authorial imagination and creativity into the study of readers’ responses to the language of literary texts. We examine these claims critically, testing the grounds of assertions about scientific rigour in relation to demands about model testing and falsifiability associated with the scientific study of literature more generally. We then explore how some other methodologies, technologies and insights associated with this last branch of the discipline might be brought to bear on the topic of authorial intention, with the aim of determining whether, and in what ways, our understanding of authorial intention, and its role in literary processing, might be furthered through empirical enquiry.


2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.


Author(s):  
Corinne Saunders

A properly critical medical humanities is also a historically grounded medical humanities. Such historical grounding requires taking a long cultural perspective, going beyond traditional medical history – typically the history of disease, treatment and practice – to trace the origins and development of the ideas that underpin medicine in its broadest sense – ideas concerning the most fundamental aspects of human existence: health and illness, body and mind, gender and family, care and community. Historical sources can only go so far in illuminating such topics; we must also look to other cultural texts, and in particular literary texts, which, through their imaginative worlds, provide crucial insights into cultural and intellectual attitudes, experience and creativity. Reading from a critical medical humanities perspective requires not only cultural archaeology across a range of discourses, but also putting past and present into conversation, to discover continuities and contrasts with later perspectives. Medical humanities research is illuminated by cultural and literary studies, and also brings to them new ways of seeing; the relation is dynamic. This chapter explores the ways mind, body and affect are constructed and intersect in medieval thought and literature, with a particular focus on how voice-hearing and visionary experience are portrayed and understood.


2015 ◽  
Vol 9 (2) ◽  
pp. 196-218
Author(s):  
Marko Juvan ◽  
Joh Dokler

This article presents methodological starting points, heuristics and the results of a GIS-based analysis of the history of Slovenian literary culture from the 1780s to 1941. The ethnically Slovenian territory was multilingual and multicultural; it belonged to different state entities with distant capitals, which was reflected in the spatial dynamic of literary culture. The research results have confirmed the hypotheses of the research project ‘The Space of Slovenian Literary Culture,’ which were based on postulates of the spatial turn: the socio-geographical space influenced the development of literature and its media, whereas literature itself, through its discourse, practices and institutions, had a reciprocal influence on the apprehension and structuring of that space, as well as on its connection with the broader region. Slovenian literary discourse was able to manifest itself in public predominantly through the history of spatial factors: (a) the formation, territorial expansion and concentration of the social network of literary actors and media; (b) the persistent references of literary texts to places that were recognized by addressees as Slovenian, thereby grounding a national ideology. Taking all of this into account, and based on meta-theoretical reflection, the project aims to contribute to the development of digital humanities and spatial literary studies.


2020 ◽  
Vol 81 (1) ◽  
pp. 73-81
Author(s):  
T. A. Sidorova

The main aim of this research was to identify the features of B. V. Shergin’s cognitive style through comprehension of the artistic image of the sea in the works of this writer. An analysis of this image was conducted from the standpoint of cognitive poetic. Cognitive poetic is considered as the main method of linguopoetic interpretation of a literary text, whose basic principles include analysis of conceptual structures reflected in the text. In the process of research, the concept of “cognitive style” in correlation with the literary text was clarified, The components of cognitive style, objectified by the image of the sea were specified. Since the literary text was interpreted from the position of cognitive poetics, the main attention was paid not only to linguistic, but also to mental structures. Furthermore, the article explores the wellknown structures of knowledge: presuppositions, concepts, motives, ideas, etc., along with semantic dominants and semantic constructs as strong meaning formations, which are determined by the author’s needs, values, world view and world perception. Therefore, the process of text interpretation takes into account the specificity of linguistic and artistic consciousness of the author, including features of the socio-cultural consciousness of Pomors (members of a subculture). The study showed that each component of B. V. Shergin’s cognitive style has its specific characteristics. The manner of presenting information in the text is characterized by a special emotional tension: understandable and close to the people daily life gets an ontological understanding. Among the cognitive mechanisms, the secondary conceptualization of the concepts of Russian Northern culture plays a special role: many of them acquire a sign of spirituality. It is shown that the specifics of the author’s cognitive style is determined by the features of his consciousness; therefore, the knowledge as sententias, semantic dominants, semantic constructs, stereotypes, values and oppositions holds the central position.


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