The poem as icon: a study in aesthetic cognition
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2020]
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| Schriftenreihe: | Cognition and poetics
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| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032116734&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032116734&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | xv, 205 Seiten 24 cm |
| ISBN: | 9780190080419 0190080418 |
Internformat
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Datensatz im Suchindex
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| adam_text | CONTENTS Preface xi Acknowledgments xiii 1. Poetic Cognition 1 1.1. 1.2. 1.3. 1.4. konicity and the Being of Reality 5 Toward a Theory of Aesthetic Cognition 7 Developing a Multidisciplinary Terminology Overview of Chapters 15 12 2. leon 18 2.1. What Is an Icon? 19 2.1.1. The Semiotic Icon 19 2.1.2. The Religious Icon 22 2.1.3. The Linguistic Icon 23 2.1.4. The Popular Icon 25 2.2. The Slippery Slopes of Meaning 26 2.2.1. Reification as Cognitive Economy 27 2.2.2. The Form-Content Dichotomy 29 2.3. konicity in the Arts 31 2.4. konicity in Literary Criticism 32 3. Semblance 38 3.1. / 3.2. 3.3. 3.4. Beyond Mimesis 39 Manifestation 4$ The In-visibility of Being 49 The Ontology of Poetic Cognition as Iconic of Reality 3.4.1. Prosodic Structure 53 3.4.2. Prepositional Use 53 3.4.3. Conceded Mages 54 3.4.4. Sound Patterning 5s 4. Metaphor 58 4.1. 4.2. 4.3. 4.4. 4.5 . Metaphor as Model 59 Poetic Metaphor as Literal 60 Metaphor in the Literary Arts 62 The Semeiosis of Poetic Metaphor 63 Metaphoring as Cognitive Processing 66
vlil Contents 4.6. The Hierarchy of Cognitive Metaphoring 67 4.7. The Ontology of Poetic Metaphor 68 4.8. The Role of Metaphor in Poetic konicity 71 5. Schema 5.1. 5.2. 5.3. 5.4. 5.5. 5.6. 5.7. 5.8. 79 Probing Sensate Cognition 80 Schema as Correlation of Self and World 82 Schema as Constraint on Experience 82 The Role of Schemata in Imagination and Language 84 Schema as Internalizing Sensate Structure in Poetry 85 path and VERTiCALiTY Schemata in Li Bar’s Shudaonan 87 The Poetic Use of Schema 90 Schema as Defining a Poetics 92 6. Affect 99 6.1. 6.2. 6.3. 6.4. 6.5. The Synesthetics of Affect xoi Sonic and Structural Prosodies 102 The Import of Affect 105 Schema Theory and the Structure of Affects 107 The Force Dynamics of Affective Schemata 109 6.5.1. Poet/Respondent :: Poem 114 6.5.2. Physical:: Force Elements 115 6.5.3. Sound :: Sight 116 6.5.4. Internal Sensibility :: External Stimuli 117 6.5.5. Interior Memory :: Interior Emotion 118 6.6. Emotive—Conceptual Schemata 119 7. The Poem as Icon __ 121 7.1. A Case Study of Two Poems 122 7.1.1. Prosodic Details in Smith’s Sonnet 124 7.1.2. Prosodic Detaik in Shelley’s Sonnet 126 7.2. The Workings of Poetic konicity 130 7.2.1. The Trap of the Gap 130 ■ 7.2.2. Closing the Gap 131 7.3.The Poetic Icon 132 7.3.1. ե Seventy Years Later 135 7.3.2. II: The Poem as Icon Л36 7.3.3. Ill: Forms ofthe Rock in a Night-Hymn 137 7.4. The Transformative Power of the Icon 137 8. Aesthetic Cognition 140 8.1. The Aesthetic Faculty 141 8.2. Aesthetic Function 143 8.3. Aesthetic konicity in the Arts 145
8.4· Aesthetic Evaluation 148 8.5. Iconic Aesthetics in “Dover Beach” Afterword A.X. A.2. A.3. A4. 152 161 Poetry in Context 162 Eve’s Dilemma 165 A Theory of Everything? 166 Poetry as an Icon of the Being of Reality Glossary 171 References 177 Index 197 166
Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem “work” and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of embodied cognition from various disciplines, Margaret Freeman argues that a poem’s success lies in its ability to become an icon of the felt “being” of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, die argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and-jtftłgmeńt.
|
| any_adam_object | 1 |
| author | Freeman, Margaret H. |
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| discipline | Literaturwissenschaft |
| format | Book |
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| isbn | 9780190080419 0190080418 |
| language | English |
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| spellingShingle | Freeman, Margaret H. The poem as icon a study in aesthetic cognition Lyrik (DE-588)4036774-5 gnd Poetik (DE-588)4046449-0 gnd Ästhetik (DE-588)4000626-8 gnd Kognition (DE-588)4031630-0 gnd Lyriktheorie (DE-588)4114471-5 gnd |
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| title | The poem as icon a study in aesthetic cognition |
| title_auth | The poem as icon a study in aesthetic cognition |
| title_exact_search | The poem as icon a study in aesthetic cognition |
| title_full | The poem as icon a study in aesthetic cognition Margaret H. Freeman |
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| title_short | The poem as icon |
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| title_sub | a study in aesthetic cognition |
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