The book offers a novel approach to the question of how to model narrativity against the background of perspectivization. By bringing together contributions from neuro- and cognitive linguistics, literary studies, and picture theory, the volume uncovers basic mechanisms of perspectivization that are common to the different levels of linguistic structure, literary novels, and narrative pictures. As such, it is also a book on narrative perspectivization since its contributions examine in detail the perspectival principles in medieval, romantic and postmodern literature, in the micro-linguistic structure of language, narrative pictures, literary novels, dramatic texts, and everyday stories. In doing so, it contributes both to the theoretical debate on the core definition of narrativity and offers new empirical investigations on perspectival principles in specific historical, medial, and genre constellations. This volume will be of interest to scholars and students of cognitive linguistics, narrative research and (transmedial) narratology, cognitive poetics, and stylistics.

In recent years, the focus of linguistic research has shifted from sentence to larger units such as text and discourse and accordingly from syntax to semantics and pragmatics. This has led to the development and application of corresponding discourse semantic and pragmatic theories such as, for instance, (S)DRT, Centering Theory, Accessibility Theory, QUD, Generalized Conversational Implicatures, Super Monsters and Gesture Semantics and new empirical approaches in the framework of experimental semantics and pragmatics or corpus linguistic discourse analysis. The contributions to this collected volume build on these developments and investigate the linguistic foundations of narration from various perspectives. The contributions address topics such as speech and thought representation, free indirect speech, information structure, anaphora resolution, co-speech gestures, classifier constructions as well as role shift and constructed action. The volume provides new insights in the linguistic structures underlying narration in written, spoken, and sign languages from an experimental, developmental, historical, typological, and theoretical perspective. The contributions will appeal to theoretical linguists, sign language linguists, typologists, literary scholars, psycholinguists, and philosophers.

Expressive Minds and Artistic Creations: Studies in Cognitive Poetics presents multidisciplinary and interdisciplinary research papers describing new developments in the field of cognitive poetics. The articles examine the complex connections between cognition and poetics with special attention given to how people both create and interpret novel artistic works in a variety of expressive media, including literature, music, art, and multimodal artifacts. The authors have diverse disciplinary backgrounds, but all of them embrace theories and research findings from multiple perspectives, such as linguistics, psychology, literary studies, music, art, neuroscience, and media studies. Several authors explicitly discuss empirical and theoretical challenges in doing interdisciplinary work, which is often considered as essential to future progress in cognitive poetics. Scholars address many specific research questions in their articles, including most notably, the role of embodiment and simulation in human imagination, the importance of conceptual metaphors and conceptual blending processes in the creation and interpretation of literature, and the function of multiperspectivity in poetic and multimodal texts. Several new ideas are also advanced in the volume regarding the cognitive mechanisms responsible for artistic creations and understandings. The volume overall offers an expanded view of cognitive poetics research which situates the study of expressive minds within a broader range of personal, social, cultural and historical contexts. Among other leading researchers, many contributors are world-famous scholars of psychology, linguistics, and literature, including Raymond W. Gibbs, Jr., Zoltán Kövecses, and Reuven Tsur, whose defining papers also survey the roles and significance of conceptual mechanisms in literature.

This book presents contributions submitted to the 2nd international conference Going Global through Social Sciences and Humanities (GGSSH 2019) held in Tomsk, Russia on 27–28 February 2019. The conference focused on such issues as interdisciplinary pedagogy, language teaching and learning, cultural studies and linguistics, particularly highlighting global academic integration and professional development for research. As such, the event provided a platform for discussions and sharing publication activities, to help Russian academics to take first steps toward global research. Showcasing the ongoing Russian research in focus areas, this book is of interest to a diverse academic audience working in social sciences and humanities, particularly those from the post-Soviet countries.

This volume brings together new research on fiction from the fields of philosophy and linguistics. Fiction has long been a topic of interest in philosophy, but recent years have also seen a surge in work on fictional discourse at the intersection between linguistics and philosophy of language. In particular, there has been a growing interest in examining long-standing issues concerning fiction from a perspective that is informed both by philosophy and linguistic theory. Following a detailed introduction by the editors, The Language of Fiction contains 14 chapters by leading scholars in linguistics and philosophy, organized into three parts. Part I, 'Truth, Reference, and Imagination', offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, 'Storytelling', deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, 'Perspective Shift', focuses on an alleged key characteristic of fictional narratives, namely how we get access to the fictional characters' inner lives, through a variety of literary techniques for representing what they say, think, or see. The volume will be of interest to scholars from graduate level upwards in the fields of discourse analysis, semantics and pragmatics, philosophy of language, psychology, cognitive science, and literary studies.

Perspective taking is a critical component of approaches to literature and narrative, but there is no coherent, broadly applicable, and process-based account of what it is and how it occurs. This book provides a multidisciplinary coverage of the topic, weaving together key insights from different disciplines into a comprehensive theory of perspective taking in literature and in life. The essential insight is that taking a perspective requires constructing an analogy between one's own personal knowledge and experience and that of the perspective taking target. This analysis is used to reassess a broad swath of research in mind reading and literary studies. It develops the dynamics of how analogy is used in perspective taking and the challenges that must be overcome under some circumstances. New empirical evidence is provided in support of the theory, and numerous examples from popular and literary fiction are used to illustrate the concepts. This title is part of the Flip it Open programme and may also be available Open Access. Check our website Cambridge Core for details.

The Handbook consists of four major sections. Each section is introduced by a main article: Theories of Emotion – General Aspects Perspectives in Communication Theory, Semiotics, and Linguistics Perspectives on Language and Emotion in Cultural Studies Interdisciplinary and Applied Perspectives The first section presents interdisciplinary emotion theories relevant for the field of language and communication research, including the history of emotion research. The second section focuses on the full range of emotion-related aspects in linguistics, semiotics, and communication theories. The next section focuses on cultural studies and language and emotion; emotions in arts and literature, as well as research on emotion in literary studies; and media and emotion. The final section covers different domains, social practices, and applications, such as society, policy, diplomacy, economics and business communication, religion and emotional language, the domain of affective computing in human-machine interaction, and language and emotion research for language education. Overall, this Handbook represents a comprehensive overview in a rich, diverse compendium never before published in this particular domain.

Experiencing Fictional Worlds is not only the title of this book, but a challenge to reveal exactly what makes the “experience” of literature. This volume presents contributions drawing upon a range of theories and frameworks based on the text-as-world metaphor. This text-world approach is fruitfully applied to a wide variety of text types, from poetry to genre-specific prose to children’s story-books. This book investigates how fictional worlds are built and updated, how context affects the conceptualisation of text-worlds, and how emotions are elicited in these processes. The diverse analyses of this volume apply and develop approaches such as Text World Theory, reader-response studies, and pedagogical stylistics, among other broader cognitive and linguistic frameworks. Experiencing Fictional Worlds aligns with other cutting-edge research on language conceptualisation in fields including cognitive linguistics, stylistics, narratology, and literary criticism. This volume will be relevant to anyone with interests in language and literature.

What can oral poetic traditions teach us about language and the human mind? Oral Poetics has produced insights relevant not only for the study of traditional poetry, but also for our general understanding of language and cognition: formulaic style as a product of rehearsed improvisation, the thematic structuring of traditional narratives, or the poetic use of features from everyday speech, among many others. The cognitive sciences have developed frameworks that are crucial for research on oral poetics, such as construction grammar or conversation analysis. The key for connecting the two disciplines is their common focus on usage and performance. This collection of papers explores how some of the latest research on language and cognition can contribute to advances in oral studies. At the same time, it shows how research on verbal art in its natural, oral medium can lead to new insights in semantics, pragmatics, or multimodal communication. The ultimate goal is to pave the way towards a Cognitive Oral Poetics, a new interdisciplinary field for the study or oral poetry as a window to the mind.

This book presents a fresh approach to the communicability of narratives, revealing the cognitive underpinnings of Charles Sanders Peirce’s pragmatistic model. It demonstrates how abductive processes modify habits of belief and action in what Peirce refers to as double consciousness. Abductions generated during double consciousness paradigms have increased efficacy compared to instinctual abductions. Novel inferences from working memory become consciously integrated with existing long-term memory units which permits fuller consideration of the plausibility of propositions. Special attention is given to children’s prelinguistic means to represent propositional or assertory conflicts, and to resolve these conflicts via listening and re-telling narrators’ accounts. Overall, this book serves both a theoretical and applied purpose. It is intended to support innovative therapeutic interventions to facilitate the (re)construction of narratives by adults and children. Its practical applications and theoretical grounding will appeal to graduate students and scholars alike, who wish to examine narrative as an interdisciplinary enterprise—an ontological and cultural phenomenon (narration by way of action/image sequences), not just a literary/linguistic paradigm. Ultimately, this account presents narrative as a modal forum to resolve logical and practical conflicts, compelling the interpreter to become an involved partner in the narrated event itself.