Cognitive Poetics

Статья посвящена проблеме дифференциации категорий художествен-ный текст и художественный дискурс с позиций современной лингвистики. Художествен-ный текст рассматривается как сложное семантическое образование, признаки которого проявляются в объединении семантического и прагматического единства, обработанного в соответствии со стилистическими нормами и функциями языка. Дискурс является сред-ством рассмотрения языка в его функционировании как элемента социальной жизни. Художественный дискурс рассмотрен как сложное когнитивно-коммуникативное лингвистическое явление, которое включает, кроме текста, экстралингвистические факторы, жанры и стили как средства идентификации автора, пространство творческой мысли.

The paper attempts to introduce Polish readers to a theory presented by the American literary scholar Margaret Freeman in her recent book, The Poem as Icon (2020). In the monograph, Freeman analyzes ways in which the reader experiences reality – both visible and invisible – through poetry. Her fundamental assumption is that the relevant research question is not what literary art is, but how it comes to be what it is. The purpose of the present paper is to show that, although written by a literary scholar, the monograph corresponds to general tendencies that can be seen in contemporary humanities: in cognitive linguistics (in particular, Leonard Talmy’s theory of -ception and George Lakoff’s cognitive theory of metaphor), in the theory of linguistic picture of the world, or in discourse analysis. All these disciplines are based upon the assumption that the essence of the world is continuous change, and they investigate linguistic expressions in the process of becoming, which is relat...

El presente trabajo se propone inaugurar el análisis del discurso literario de Clara Janés en una de sus obras más recientes, Kamasutra para dormir a un espectro (2019). La heterogeneidad de los materiales literarios y de las referencias subyacentes al texto estimulan un tipo de análisis que destaque el tema que vertebra la obra —es decir, la  búsqueda  del  conocimiento—  prestando  atención  a  sus  distintas  formulaciones.  El  objetivo,  en  definitiva,  es  destacar  la  hibridación  de  ciencia,  filosofía,  mística,  poesía  y  otras  artes  —sobre  todo  la  música— en  esta  obra  de  Clara Janés.

-------------

This paper suggests to begin the analysis of Clara Janés’ literary discourse in Kamasutra para dormir a un espectro (2019). Due to the diversity of references and literary materials under the text, it is possible to promote a kind  of  analysis  focussed  on  the  relation  between  the  core  theme  of  the  book  —that  is  to  say,  the  search  of  knowledge— and the multiple variations on it. To sum up, the main aim of this paper is to highlight the hybridization between science, philosophy, mystics, poetry and other arts —music most of all— in this work by Clara Janés.

Summary of an array of AI-focused articles -- ChatGPT versus Claude 3
Experimental poetic representations of summaries -- ChatGPT versus Claude 3
Summary generated experimentally in image form by ChatGPT
Comparative experimental use of Claude 3
Concluding psychosocial questions -- ChatGPT versus Claude 3
Strategic tokenism and misplaced concreteness?

Too much do prayer (poetry) + politics (philosophy) differ for their own good. Spiritual + practical possibilities for personal + public activities, they instead tiptoe around divine/profane cities, separate by themselves, together occasionally, two hungry, horny, homeless, historical cats.
They daily meow for poetic attention in media mixing . . .

Изучая специфику социального взаимодействия в исторической перспективе, историки работают с текстами, функционировавшими в разные исторические эпохи. Каждая эпоха отличается от другой своей специфической ситуацией. Насколько репрезентативны знания, полученные с помощью дискурс-анализа или какой-то другой методики анализа содержания текста, зависит от того, насколько совершенна методика. Насколько мы можем доверять знаниям, добытым с помощью уже существующих методик анализа? Есть ли у них достаточная методологическая база? Следует ли искать новые методики? Что стоит за этим поиском? Данная статья-это размышления над тем, что представляют собой качественные методики (дискурс-анализ) и количественные (контент-анализ), и что лежит в основе выбора. Методологические парадигмы в значительной степени определяются историческим контекстом, который и определяет то, что мы готовы сегодня увидеть, понять, осознать, а что нет.  Смена ведущих методик отражает смену методологических парадигм.

Introduction: This research aimed to investigate the possible advantage of conceptual blending theory to illustrate hidden aspects of poetic creativity, which is called elaborating device in conceptual metaphor theory. Methods: We collected 54 poems with equal ratios on the basis of a simple random sampling of Simin Behbahani, Fereydon Moshiri, and Forough Farokhzad’s poetic notebooks. The descriptive-analytic method was used to estimate properties of conceptual blending analysis and extract network models to discuss the metaphorical elaborating and its features that conceptual metaphor theory cannot adequately explain about them. Results: Two micro-models are extracted. In the first model, mental space or a blended space, resulting from a network in a background, reflects some concepts into both input spaces of the other network in the foreground, simultaneously, based on stimulation of similar aspects. In the second model, there are two networks. Some aspects of the first input of...

Introduction: This research aimed to investigate the possible advantage of conceptual blending theory to illustrate hidden aspects of poetic creativity, which is called elaborating device in conceptual metaphor theory. Methods: We collected 54 poems with equal ratios on the basis of a simple random sampling of Simin Behbahani, Fereydon Moshiri, and Forough Farokhzad’s poetic notebooks. The descriptive-analytic method was used to estimate properties of conceptual blending analysis and extract network models to discuss the metaphorical elaborating and its features that conceptual metaphor theory cannot adequately explain about them. Results: Two micro-models are extracted. In the first model, mental space or a blended space, resulting from a network in a background, reflects some concepts into both input spaces of the other network in the foreground, simultaneously, based on stimulation of similar aspects. In the second model, there are two networks. Some aspects of the first input of...

בשנת 1954 , לפני שבעים שנה, היה משה בן־שאול בין פרחי המשוררים שייסדו את חבורת
"לקראת" והתבלט בה כמי שאינו רץ בחבורות וביכר להתנסות בעצמו במדיומים ספרותיים
ואמנותיים רבים. צימאונו לאוונגרדיות התבטא בין השאר בעריכת גיליונות כתב העת קצר
הימים "רביעייה חד־פעמית".

An Inconceivable Coincidence: Szymborska and Lem

In the article, I review the life events of Wisława Szymborska and Stanislaw Lem – who were close in age – that brought their fates together after the war. I aim to highlight the similarities in their perspectives on certain fundamental issues. Sometimes, these convergences seem to lead to intertextual connections between the otherwise very different works by the two writers. I pay special attention to the similarities between the concepts expressed by Lem in Summa technologiae and some of Szymborska’s “ontological” poems, with particular reference to the themes of “chance,” “individual identity,” “evolution,” the shared suspicion of metaphysics, their generally nonanthropocentric vision, and the importance of rationalism and irony as keys to reading the world.

This paper presents a translation of Osip Mandelstam's "Stalin Poem," approached through the lens of 'poetic immersion,' a method detailed in my earlier work, A Translator's Manifesto: Translating for Poetic Immersion. This approach emphasizes the sensory and emotional engagement of the reader, striving to recreate the immersive

This paper explores the complex art of translating poetry with a focus on preserving the immersive qualities that are central to experiencing poetry in its original form. Through an analysis of various translation strategies and the intersection of phonetics, emotion, and cultural context, I propose a model for translating poetry that prioritizes the sensory and emotional engagement of the reader. Drawing on the works and theories of

This study sheds light on the attitudes of two American Romantic Poets during the nineteenth century: Edgar Allan Poe and Emily Elizabeth Dickinson, towards the notion of death. Although they share the same interest of discussing death, but each one of them has his/her own style in expressing his/her views and thoughts concerning this concept. As far as the problematic of this study is concerned, Dickinson gives a great number of her poems only to discuss about the topic of death. She writes about death notion to the extent that someone would consider her as a Dark Romantic poet just like Poe. However, she represents this phenomenon with optimistic view in contrast of Poe. To make the study more concise, one poem for each poet is selected to be analyzed. The choice is based on the relevance of the poems for the topic: Poe‘s Annabel Lee and Dickinson‘s Because I Could Not Stop for Death. Furthermore, the intended methods to follow in this study are descriptive and interpretive. Sourc...

«Кратко изложите эту статью для 10-летнего ребёнка

  Онтология — это учение о самом основном веществе и сущности всего, что нас окружает. Она изучает вопросы о том, что такое бытие и какие свойства присущи различным объектам. Важно понимать, что онтология не только интересует нас как всё существует, но и почему оно существует таким образом».  [Корявость текста, видимо, связана ещё и с автопереводом на русский язык, но смысл почти не страдает.]

  Онтокритика предлагает постулат, что «самое основное вещество и сущность всего, что нас окружает» как социализированных и речеобученных приматов — это текст, а уже через текст и текстом мы организуем своё взаимодействие и инженерию в отношении всего внетекстового мира. Фундаментальное прагматическое (практическое) следствие базового онтокритического постулата: нам следует уделить гораздо больше внимания и усилий для критического аудита и переделки и доделки всех текстов, в которых и которыми мы живём осознанно — и  особенно в которых и которыми мы живём неосознанно или нечестно и по глупости умалчивая.

সার-সংক্ষেপ উইলিয়াম ওয়ার্ডসওয়ার্থ বলেছেন- কবিতা হল শক্তিশালী অনুভূতির স্বতঃস্ফূর্ত প্রবাহ। আমাদের এই কবি মনেপ্রাণে তা বিশ্বাস করেন।"স্বপ্নের কবি" কাব্যের কবিতাগুলোর অধিকাংশই রচিত হয়েছিল ২০১২-২০১৮ সালের মধ্যে যখন কবি বিশ্ববিদ্যালয়ে অধ্যয়নরত ছিলেন। প্রথাগত কবিতা লেখার স্টাইল থেকে বেরিয় এসে তিনি এখানে নতুন চিন্তা-চেতনা বিশেষ করে আধুনিকতা থেকে বেরিয়ে এসে উত্তর আধুনিক ধাঁচকে প্রাধান্য দিয়েছেন। ভিন্ন দৃষ্টিভঙ্গি, দৃষ্টিকোণ, কেন্দ্রবিমুখীতা ও বহুমাত্রিকতা বজায় রাখার চেষ্টা করা হয়েছে বিষয়, ভাব, ছন্দ, শব্দ ব্যবহার ও উপস্থাপনার ক্ষেত্রে। কল্পনা প্রেমিক কবি তার কবিতাগুলোতে স্থান দিয়েছেন প্রেম, বিরহ, প্রকৃতি, জীবনের ঘাত-প্রতিঘাত, নারীর সৌন্দর্য, পুরুষের হতাশা, দেশপ্রেম, রাজনীতি, কল্পনা ও বাস্তবতার তফাৎ, নিঃসঙ্গতা, মৃত্যু, দুষ্ট সময়ে প্রতি অনীহা ইত্যাদি বিষয়কে। শব্দ ব্যবহারের ক্ষেত্রে কবি নতুন, কমনীয় ও সাধারণ শব্দের মিশেল করেছেন। ছন্দ ব্যবহার করার বিষয়ে কবি কিছুটা উদাসীনতা দেখিয়েছেন, তবে তার কবিতাগুলোকে গদ্য ছন্দের কবিতা হিসেবে গণ্য করা যায়। উপস্থাপনায় কবি বৈচিত্রতা দেখিয়েছেন বটে কেননা তিনি ভাবগুলোকে নানাভাবে সংমিশ্রণ করার চেষ্টা করেছেন। আর তার মাধ্যমে কবি দৃষ্টিভঙ্গিতে পরিবর্তন আনয়ন করতে চেয়েছেন। অলংকার ব্যবহারে কবি অন্তর্নিহিত গঠনকে গুরুত্ব দিয়েছেন। কবি নতুন নতুন উপমা ও শব্দছবি প্রয়োগ করে পাঠকের চিন্তাকে আকর্ষণ করেছেন। যাতে আমাদের ব্যক্তিগত বোধের পাড় থেকে আমরা জগতকে ভিন্নভাবে স্পর্শ করি। কবি ব্যক্তিকে জীবনের নানা প্রসঙ্গে যুক্ত করার এক অন্তিম প্রয়াস হাতে নিয়েছেন। এখান থেকেই কখনও ব্যক্তিকে বিচ্ছিন্ন করে চিরায়ত সংগীতের সুর তুলেছেন। এসব করতে গিয়ে কবি কতটা সফল হতে পেরেছেন তা বিচার করবেন সচেতন পাঠক সমাজ। সকলের প্রতি বইটি পড়ে দেখার অনুরোধ রইলো। ধন্যবাদ।

In his cognitive study of visual poetry, Reuven Tsur (2000: 763-769) demonstrates that visual poetry generates a witty, intellectual effect in readers, rather than a sentimental one. Whereas it is true that this is a general tendency, the aim of my present study is to explain how feeling emerges from visual poetry’s multimodal structure, in order to prove that feeling is actually an important part of visual poetry as well. It may be not as central as in lyric poetry, buy it plays its role and therefore it should be studied. For this purpose, I have developed a multimodal iconicity model, which I have put into practice by analyzing some visual poetry examples by Guillaume Apollinaire, Mary Ellen Solt and Clara Janés.

A poesia utiliza de metáforas para destacar o cuidado e a dedicação que os educadores devem ter para cultivar a semente da educação. O poema enfatiza a importância da educação como chave de regência e o professor como seu guardião do progresso, que dedica sua vida com zelo e compromisso na formação de cidadãos de visão. Por fim, o poema é uma mensagem de encorajamento aos professores para que não desistam de sua missão, pois seu trabalho é essencial na construção de um mundo ideal.

Bugün klavyenin başına, değerli Şaire hanımefendi kardeşim "Fatma Alageyiğin" yazdığı şiir için geçtim. Şiirin penceresinde gönüllere bir hoşluk sunmak kardeşimle birlikte sizlerin gönlünde bir gülümseme eklemek için, yazmaya başlıyorum. Bu sevgiliye yazılan muhteşem güzellikte gönülden

This is an iconisation and sociolinguistics of communication in Nigerian poetry of English expression. The paper assesses how the use of poetic creativity serves as both sociolinguistic and signifying processes of communicative roadmap that are capable of yielding well expressed and richly articulated semiological implications. Being the father of all modern disciplines, semiotics, and its application is highly utilitarian in linguistics analysis especially

以能源政治话语为例， 聚焦由多元主体参与的话语网络， 考察不同社会主体话语之间的相互联系和影响。 研究发现， 上级主体话语与下级主体话语形成一种纵向权力互动， 主要体现为语体的再情景化和话题链上的延展、 提升和改造。 通过对话性交互和语体再情景化调配， 实现话语在语言使用和社会要素层面上的辩证互动， 经由主体意识形态， 创建出杂糅性新话语， 形塑和巩固主导性意识形态。 话语互动分析有助于加深对话语互动过程和复杂性的认识，推动批评话语研究的纵深发展。
Taking political discourses on energy as an example, this paper, concerned with the discourse networks involving multiple subjects, investigates the discursive interaction at the hierarchical dimension. It is found that the discourses by subjects from different social and political ranks constitute an interaction at the dimension of hierarchical power,which is mainly reflected in generic re-contextualization and extension, promotion and transformation of the topic chains. Through dialogic interaction and re-contextual generic adaptation, the multi-discourse network has realized the dialectical discursive interaction at both levels of language use and social elements. Social subjects' ideological cognition is the enabling mediation of a new hybrid discourse, generating new meanings pointing at the dominant ideology. A multi-discourse network analysis helps to deepen the understanding of the process and complexity of discursive interaction, and promotes the in-depth advancement of critical discourse study.

在图像为主、文字为辅的绘本叙事中，语篇视角的表征方式有别于纯文字叙事。绘本叙事通常采用哪些手段，激发读者启用何种认知机制，对故事内人物的视角进行识别、解释和评价? 本文以几米的绘本 《时光电影院》为例，发现绘本主要依赖图形－背景、概念隐喻和整合等认知机制，创造前景化的图文组合，表征视角的切换。立足于语境框架，读者会在特定图文组构的激活下启用相应的认知操作，识别和感知语篇的视角化等级，形成对故事世界的认识和评价。
In graphic narrative，where high priority is given to visual images with verbal texts in alignment，the ways to  represent character’s perspective differ from those employed by mono-modal verbal narratives．  Then the question  arises as to what devices are employed to trigger readers’identification，explanation and appraisal over figural  perspective，and what cognitive mechanisms are involved．  Taking Jimmy’s The Ｒainbow of Time ( 2012) as a telling example，this paper finds that three cognitive mechanisms，namely，figure-ground，metaphor and blending，  are used to create foregrounded verbal-pictorial incorporation，represent figural perspective and mark perspective  shift． Within a given contextual frame，readers’certain cognitive operations are activated by visual and verbal cues to  identify and experience varying degrees of perspectivization of the discourse，hence forming their interpretation and  evaluation of the fictional story world．

本文提出情绪的多模态转—隐喻表征连续体模型和图文多模态表征系统,以几米的十部叙事绘本为语料,系统考察“愤怒”的图像表征手段,总结“愤怒”转—隐喻多模态协同构建的规律,阐释其认知诗学效果。语料分析表明,除高频使用“愤怒情绪的生理效果代愤怒情绪”这一常规转喻外,几米还频繁使用隐转喻,形象刻画强烈愤怒情绪导致的夸张效果,吸引读者注意力。最具认知冲击力的视觉表征是隐喻,几米频繁使用亮丽的色彩、形状、构图等视觉元素,基于转喻—隐喻的互动,把“愤怒是容器中的气体”、“身体是容器”、“强度大是空间上的大”等基础隐喻整合构建出“愤怒是火焰”、“愤怒是怪兽”、“愤怒是自然的力量”等概念隐喻。图像元素对语言隐喻的“去熟悉化”处理,刷新读者的常规图式,产生语言隐喻无法比拟的认知诗学效果。
On building an EMOTION representation model of continuum from metonymy to metaphor and a system of pictorial and verbal representations,this paper,taking ten Jimmy's narrative picturebooks for young adults as data,conducts a comprehensive analysis of the pictorial representations of ANGER,on which a generalization of multimodal collaborative constructions of ANGER is made and followed by a brief account of their cognitive poetic effects. Our data analyses show that,apart from the frequent use of conventional metonymies such as “PHYSIOLOGICAL EFFECTS OF ANGER FOR ANGER”,Jimmy constantly employs metaphtonymy,vividly illustrating the dramatic effect of fierce ANGER. In terms of cognitive impact,the most effective means is pictorial metaphor. Jimmy fully taps the potentials of such visual elements as bright colors,shapes and pictures to construct complex metaphors incorporating the basic metaphors like ANGER IS HEAT,ANGER IS THE GAS IN A CONTAINER,BODY IS A CONTAINER,HIGHER DEGREE IS BIG IN SPACE,etc. Meanwhile,by virtue of the interaction and integration of metonymy and metaphor,Jimmy represents in an appealing multimodal manner with such conceptual metaphors as ANGER IS FIRE,ANGER IS A MONSTER, ANGER IS A NATURAL FORCE. It holds that pictorial metonymy and metaphor, represented in a fashion of“defamiliarization”of the linguistic counterpart, have more forceful cognitive poetic impacts than linguistic metaphors alone, by means of refreshing readers' conventional schema of interpretation.

认知诗学是滥觞于本世纪初的一种以文学为研究对象的跨学科研究，在学科定位、学理基础和研究范畴等方面存在含混，研究实践与研究名称依然名不副实。本文把认知诗学置于后现代文化语境中，用后现代哲学思想反观其学科定位与发展前景。参照其基本诗学观———体验人本观和多元识解观, 我们深信认知诗学将会以更加包容和开放的姿态，进一步拓展疆域，突破发轫之初的基于认知科学的诗歌研究范式和之后的认知语言学应用范式，真正发展成为一种立足于普世体验认知和社会文化认知、面向一切文学样态、探究文学基本命题的文学理论。
As a cross-disciplinary study of literature，emerging at the start of this century，cognitive poetics has suffered from somewhat  blurry delineation concerning disciplinary orientation，theoretical underpinnings and research scope as well，and from dissonance  between subject title and practice． Scrutinizing it from its social context and philosophy of post-modernism，we present our principled observation and reflection in regard to the disciplinary orientation and prospective development of cognitive poetics． It is our  firm belief that cognitive poetics，by virtue of its two basic tenets — embodied humanism and multi-construal，bound to be more  open and broad in terms of research scope and paradigm，broadening from its narrowly defined approach，i. e． ，cognitive-sciencebased study of poetry and subsequent cognitive-linguistics-based application to literature，will develop into a fully fledged literary  theory which provides adequate account for the basic literary propositions for diverse types of literature by taking an integrated approach of both universal embodied cognition and social-cultural cognition．

意识流语篇凌乱的表层之下隐藏着一定的脉络和肌理。本文从认知诗学的角度探讨如何破解这些脉络和结构。基于心理空间理论, 本文提出读者可以充分调用基本的经验感知图式和语篇知识图式, 在各种空间构造语的触发下, 构建立体的心理空间网络体系。实例表明, 这类网络体系具有基础空间背景化、内嵌空间层级化和空间回归越级化等特征。了解语篇的心理空间网络结构特征, 有助于读者降低解读难度, 构建连贯的语篇表征, 领悟深层主题内涵, 从而增强对意识流语篇的审美体验。
Underlying the chaotic surface in stream-of-consciousness (SOC) discourse lie certain fabricating patterns and structures.From the perspective of cognitive poetics, the present paper is concerned with how to detect them.Drawing on the Mental Space Theory, we propose that aided by diverse space building clues, readers may reconstruct the mental space network by invoking their basic schemas of experience and discourse knowledge.Analysis reveals that the SOC mental space network has such features as back-grounding of the basic space, hierarchical embedding of subspaces and prompt reversion to the basic space even from a deeply-embedded space.Acquaintance with these features may help unravel the seemingly disordered SOC, establish coherent mental representations, disclose the implied thematic meanings, and thus enhance the aesthetic experience of reading.

সন্মাত্রানন্দ একুশ শতকের অন্যতম পরিচিত, আলোচিত এবং বিপুল পাঠক দ্বারা সমাদৃত লেখক। তাঁর ছোটগল্পের অসামান্য কৌশল ও শৈলী কথাসাহিত্যে নতুন মাত্রা এনেছে। শব্দের প্রাণ প্রতিষ্ঠা কাব্যিক কলার প্রয়োগে মেটাফরিক ইমেজ জাগ্রত করে বারবার। আখ্যানতত্ত্বের প্রথাগত ধারা দিয়ে খুঁজলে বিষণ্ণ হতে হবে কিন্তু লেখকের নিজস্বতাকে স্বীকার করলে 'ধীরে বহে বেত্রবতী' তজেকে 'ভামতী-অশ্রুমতি' অসামান্য আখ্যান। টুকরো টুকরো পাহাড়ে তাল তাল কালো মেঘ। 'তবু একলব্য' গল্প সং্খ্যায় 'সন্মাত্রানন্দের গল্পভুবন: ধীরে বহে বেত্রবতী' লঙ্গিনাসের সামলিমিটির চোখে দেখা ছবি।

[This is the script of a four-part German language video essay on intermedial
narratological aspects of Hans Fallada's Wolf Among Wolves.]
Dies ist das Skript einer vierteiligen Video-Einführung in die intermediale Narratologie (medienübergreifende Erzähltheorie). 2 Wir vergleichen Hans Falladas Roman Wolf unter Wölfen von 1937 mit der gleichnamigen DDR-Fernsehverfilmung von 1964. Der Schwerpunkt unserer Analyse liegt auf den unterschiedlichen, aber vergleichbaren Techniken der Perspektivierung (Fokalisierung) in Roman und Film. Mit einzelnen Übungsaufgaben (und Antworten

This thesis examines the contemporary poetry of three Palestinian poets (Sharif Elmusa, Nathalie Handal and Hanan Ashrawi), three South African poets (Mbongeni Khumalo, Seitlhamo Motsapi and Mzi Mahola) and three Indigenous Australian poets (Romaine Moreton, Alf Taylor and Michael J. Smith). Despite obvious differences of cultural background, these poets share the trauma of colonial dispossession, of the interventions of industrial capitalism, and an intimate bond with their land. The poetry shows a tendency towards orality, which manifests in a highly spatialised imagery expressed principally through metaphors, metonymies, anthropomorphisations, dialogues, onomatopoeias and proverbs. The oral characteristics of this poetry reveal different and culturally unique modes of interacting with the environment: oral values are ways of knowing and understanding the world from the writers’ own indigenous perspectives. In other words, the poetry in question is concerned to expose readers to physical landscapes and cityscapes that give rise to intense emotions related to the poets’ feeling of cultural location and dislocation.
Postcolonial theory has written extensively about orality and place in the postcolonial text. However, attempts to deal with these concepts in poetry fail to account for the precise manner in which orality and place are linguistically determined, or to provide a systematic account of how orality and place function stylistically.
This thesis offers a method of reading postcolonial poetry. It develops a kind of analysis that operates through formal and linguistic detail in order to provide a more analytical understanding of local epistemologies as they emerge in the text. The research draws on the field of embodiment theory, a large theoretical framework that encompasses a number of approaches to the relation of body and mind to the world. Developments in phenomenology, philosophy of mind, cognitive linguistics, cognitive poetics and cultural geography, have contributed to an understanding of how human beings conceptualise and experience the world. The thesis explores interrelations of body, mind and environment as they are elaborated in cognitive poetics and cultural geography in order to give definition to notions of indigenous perspective and experience.
Cognitive poetics views the language of literary texts as rooted in the body’s perceptual system. In general terms, cognitive poetics explains what happens in the mind when literary texts are read, focussing on conceptual and sensory information emanating from the text as the reader progresses. This thesis focuses on the analysis of metaphors, metonymies and the vocative as instances of conceptual and sensory information that determine the reader’s interaction with the writer’s indigenous perspectives and sense of oneness with the land. Embodiment theory provides a useful theoretical framework for the analysis of postcolonial poetry because it is centred on the body’s interaction with place, a crucial element in the notion of indigenous perspectives.
Finally, the new method of reading suggests potential lines of development for postcolonial studies emerging from the analysis of conceptual blends, metonymies and the vocative. These new analytical paths are also responses to the local narratives of the poetry under consideration: to the poets’ shared yet culturally distinctive concerns about the environment and the forms of oppression experienced under globalisation. These local narratives make a fundamental intervention in the issue of what German philosopher Ulrich Beck calls ‘reflexive modernisation’: the process by which the progress of industrial modernity is questioned and re-evaluated in light of the risks it poses for the survival of the society it purports to advance. The analysis of conceptual blends, metonymies and the vocative can function as a kind of scrutiny directed towards the effects of industrialisation and globalisation on indigenous populations. It is possible, the thesis argues, for the analysis of a poem to participate in a process of cognitive mapping from which a common and empowering discourse emerges. In this interaction of the method of reading with the writer’s local and global concerns, the thesis aims to articulate bodily experience to the dislocating effects of globalisation for the reading and writing of poetry.

Este trabajo, que nace del interés personal en la poética lingüística y, más concretamente, la lingüística y poéticas cognitivas, pretende completar los siguientes objetivos:
1. Investigar si la lingüística cognitiva, a través de la poética cognitiva, puede aportar respuestas originales y satisfactorias al estudio de la literatura y producir trabajos que complementen o amplíen otras perspectivas.
2. Descubrir hasta qué punto la poética cognitiva sigue de manera fiel los presupuestos de la lingüística cognitiva y señalar las posibles desviaciones y propuestas heterodoxas.
3. Indagar los límites teóricos y prácticos del estudio del lenguaje literario a través de la poética cognitiva y presentar una revisión crítica y horizonte de futuro.

Philosophy was a love of wisdom for a long time. It focused on wisdom from observation, experimentation, and establishing an understanding of nature and human beings. It was an intuitive, imaginative, and creative way to explore reality and mankind and apply it to improve existence and make people happy. The same function had art and poetry. Philosophical thinking was not only rational but also poetic and artistic. In his text, The End of Philosophy and the Task of Thinking, Heidegger states that since Plato in ancient Greece, philosophic perception and theories about the world have become more rational and scientific than poetic, imbalanced the world's understanding in just one Metaphysical aspect. According to him, with only scientific thinking, philosophy has no reason to exist. " ...The end of philosophy means the completion of metaphysics" (432), and also states, "Throughout the entire history of philosophy, Plato's thinking

Com base em pesquisa bibliográfica, pretende-se entender e analisar o papel que o grito desempenha na narrativa audiovisual, partindo do segmento de um tropo do cinema de terror "rainhas do grito". "Rainhas do grito" são atrizes que participam de muitos filmes de terror como vítimas e acabam tendo cenas marcantes de grito na obra audiovisual. Pretende-se abordar o tema a partir de três produções fílmicas, sendo estas: King Kong (1933), de Merian C. Cooper; Enerst B. Schoedsack; Psicose (1960), de Alfred Hitchcock e Halloween (1978), de John Carpenter.

An early version of the views developed in my book *Contingencies of Value: Alternative Perspectives for Critical Theory*. The article is focused on Shakespeare’s Sonnets  but designed to suggest some of the more general problems that, to my mind, the concepts of value and evaluation present to critical theory and how those problems might be handled.

The paper suggests the metacognitive representation of the conceptual framework of кажимость gestalt. The metacognitive representation is based on the inferential conclusions obtained by cognitive-discursive analysis of the functioning contexts of polysemous verbal predicates казаться, показаться. The Gestalt script includes native speakers’ experience conceptualized in the semantics of contexts. This experience can be presented by the following meta-utterances: The speaker knows that it is not possible to see an object being observed properly from afar, i.e. the first impression of it could turn out to be mistaken. The speaker also knows that it is possible to come closer to the object afterwards and observe it, i.e. to re-verify the results of perception empirically. This allows them to form a more complete idea / knowledge about the object. Subsequently, the speaker reflects on his first visual impression based on the received idea / knowledge, evaluates it as “true” or “false”. ...

Recent work in metaphorical analysis makes it clear that many of our most basic concepts (and our reasoning via those concepts) are embodied: Lived experiences in our bodies inspire and constrain the way we conceive and articulate many of our other experiences. That is exactly what metaphor is based on, i.e., on experiential, body-linked, physical core of reasoning abilities (Lakoff and Johnson, 1999). Metaphor has the capacity to "introduce a sensory logic at the semantic level alluding to a more complex scenario of interrelated meanings and experiences of the world" (Cacciari, 1998 p.128). One of the most common types of metaphoric transfer is synaesthesia, i.e., the transfer of information from one sensory modality to another. I analyze this phenomenon in depth in this paper, taking my data from a corpus of 50 poems written by Seamus Heaney and analyzing examples such as: (1) cold smell (Digging, line 25), (2) stony flavours (From Whatever You Say Say Nothing, line 19) or (3) coarse croaking (Death of a Naturalist, line 26). After that I compare my data with Day's in his study of synaesthesia in English. Finally, I point out the idea of synaesthetic connections as possible physical base for the cognitive process that we call metaphor.

Cognitive Linguistics (CL) is a field of investigation in Cognitive Science that conceives language as an integrated phenomenon within general human cognitive abilities. One of the CL deep roots departs form Noam Chomsky's Syntactic Structures (1957) and from Montegue's Universal Grammar (1970). Chomsky's language theory claimed that human linguistic faculty was of a mainly syntactic nature, and that the essence of language lies in the human capacity to combine a series of finite elements, the words, in such a way that they are able to express an infinite number of linguistic messages. Further on, it was noticed that we also need the semantics of a linguistic item that can be conceived as the objective conditions under which it may truthfully be stated, while the syntax was the mathematical structure of its linguistic elements and relations irrespective of their semantics. This view

Publikacja wydana dzięki pomocy finansowej Wydziału Edukacji Urzędu Miasta Łodzi i Dziekana Wydziału Filologicznego UŁZadanie pt. Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki nr 885/P-DUN/2014 zostało dofinansowane ze środków MNiSW w ramach działalności upowszechniającej naukę