Global ETD Search

61	Intertextuality reinterpreted : a cognitive linguistics approach with specific reference to conceptual blending Van Heerden, Chantelle 30 June 2008 (has links) In this dissertation, I investigate the cognitive processes integral to intertextual readings by referring to the cognitive linguistics framework known as conceptual blending. I refer to different genres of intertextual texts and then explain these intertexts in terms of cognitive principles and processes, such as conceptual blending networks. By applying the framework of conceptual blending to intertexts within different genres, I suggest that the underlying cognitive processes are universal for the interpretation of any type of intertextual text. My findings indicate that conceptual blending underpins intertextuality which is cognitive, creative and dynamic in nature. This means that the meaning we construct from intertexts is dependent on the context in which they appear and cannot be studied in isolation. Investigating intertextual texts from a cognitive linguistics perspective reveals new inferences (such as the influence of implicit knowledge as a type of intertext) and the creativity involved in the meaning-making process. / Linguistics and Modern Languages / M.A. (Linguistics) Vital relations Schema Possible worlds Poetry Mental space Fairytales Intertextuality Expository text Embodiment Conceptual integration Conceptual blending network Conceptual blending Cognitive poetics 401.9 Intertextuality Discourse analysis Influence (Literary, artistic, etc.) Cognitive grammar Creativity (Linguistics) Modality (Linguistics) Meaning (Psychology) Reader-response criticism
62	Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays Khan, Amir January 2013 (has links) This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror. Shakespeare Shakespeare in the classroom Shakespearean tragedy Stanley Cavell Counterfactuals Critique of New Historicism Teaching Shakespeare Teaching tragedy Tragedy Tragic effect Tragic fate Northrop Frye A.C. Bradley Reader response Hamlet's delay Hegel on tragedy Possible worlds Present day Shakespeare Hamlet Othello King Lear Macbeth The Winter's Tale Jonathan Dollimore Radical tragedy
63	La mort et son cadavre : qu'en dit la littérature ? Lectures du corps mort dans des cuentos hispano-américains contemporains / Death and its dead body : what literature teaches us about it? A study of the corpse in contemporary Latin American short stories Barbu, Andra 19 November 2018 (has links) Ce travail explore les représentations du corps mort dans des cuentos hispano-américains contemporains pour essayer d’établir par ce biais une typologie des rapports que l’être humain entretient de façon générale avec la mort. L’idée centrale que nous avançons est que la littérature reproduit un nombre limité de réactions universellement valables, se montrant ainsi capable de mettre à la disposition de ses lecteurs un inventaire étrangement fiable des attitudes qu’eux-mêmes, à l’instar des personnages, sont susceptibles d’aborder face à cet événement ultime. Le choix du cadavre comme protagoniste des récits étudiés s’explique par le fait qu’il soit la seule image concrète et tangible de la mort et que, par son apparence repoussante, il représente une terrible source de hantise qui conditionne et altère toute tentative paisible de se rapprocher de celle-ci. Le cadre théorique des mondes possibles littéraires qui posent la fiction comme expérience envisageable et la particularité formelle du genre littéraire du cuento avec sa petite étendue et son caractère auto-suffisant permettent la vision du texte comme espace tombal où gisent ces nombreux cadavres fictionnels. Le lecteur a ainsi accès de près au corps mourant/mort, froid, putride, puant, dépecé ou bien embaumé, et les expériences littéraires acquises de cette manière s’ajoutent à son effort d’apprivoisement de la réalité effrayante de la mort. / This work explores the dead body as it is represented in a number of contemporary Latin American cuentos in order to establish a typology of the different reactions of human beings in general when faced with death. I suggest that literature reproduces a limited number of universal behaviours in this situation and thus it gives readers a fairly reliable inventory of the attitudes that they, like the characters, are likely to adopt.The corpse as a protagonist of the short stories discussed here has been selected because it is the only concrete and palpable image of death and that, by its repulsive appearance, it represents a terrible source of fear which conditions and alters any intention of peacefully trying to come to terms with it. The theoretical framework of the literary possible worlds whereby fiction is seen as a potential experience, and the formal characteristics of the cuento, such as its reduced, self-contained nature, allow the text to be read as a funerary space where all these fictional dead bodies lie. The reader is thus brought into close contact to the dying/dead, cold, putrid, stinking, dismembered or embalmed body and the literary experiences he/she goes through help him/her to come to grips with the frightening reality of death. Forme brève Rôle de la littérature Mondes possibles Frontières réel/fiction Laint-American literature (XX-XXI) Reader/reading/writing of the dead body Short story Function of literature Possible worlds of fiction Boundaries fiction/reality Literary space/spatialised text 868.993 868.992
64	Релятивизированная онтология семантики возможных миров и ее применимость к проблемам философии сознания : магистерская диссертация / Relativize ontology of possible-worlds semantics, and its applicability to the problems of the philosophy of mind Гущин, И. А., Guschin, I. A. January 2016 (has links) Современная аналитическая философия может применять семантику возможных миров для анализа философских проблем. В диссертации определяется онтологический базис для семантики возможных миров так, чтобы она была в полной мере применима к анализу проблем философия сознания, включая проблему тождества сознания и тела. Проводится анализ объектного и релятивного способов определения онтологии для семантики возможных миров для объектов и функций, при этом рассматривается возможность определения объектного способа как частного случая релятивного. Отношение достижимости в качестве способа задания «релятивных» переходов между возможными мирами является ключевым для релятивного подхода к онтологии семантики возможных миров. В диссертации сформулирована логическая система на основе допущения неполного сопоставления индивидных областей для отношения достижимости. / Modern analytic philosophy can apply the possible-worlds semantics for the analysis of philosophical problems. The dissertation determines ontological basis for the possible-worlds semantics, so that it is fully applicable to the analysis of problems of the philosophy of consciousness, including the issue of the identity of consciousness and body. The analysis of relational and object methods for determining the ontology of possible-worlds semantics for objects and functions takes place, while the possibility consideres of determining the object method as a special case of relative method. The attitude of the reachability as a means of model of «relative» transitions between the possible worlds is the key to relational approach to the ontology of possible-worlds semantics. The dissertation formulates the logical system based on the assumption of incomplete comparison individual areas for the attitude of the reachability. ВОЗМОЖНЫЙ МИР ОНТОЛОГИЯ ФИЛОСОФИЯ СОЗНАНИЯ MASTER'S THESIS POSSIBLE-WORLDS SEMANTICS POSSIBLE WORLD THE ATTITUDE OF THE REACHABILITY MODALITIES OF NECESSITY AND POSSIBILITY ANALYTIC PHILOSOPHY ONTOLOGY PHILOSOPHY OF MIND
65	Textmedierade virtuella världar : Narration, perception och kognition / Textually Mediated Virtual Worlds : Narration, perception and cognition Pettersson, Ulf January 2013 (has links) This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text. intermediality virtual worlds possible worlds fictional worlds storyworlds reader response semiotics Gestalt psychology cognitive linguistics cognitive psychology cognitive poetics reading process mental models situation models schemata scripts narratology diegetic levels focalization transactional theory iconicity immersion aesthetic illusion gaps concretization mental places integration network models blending conceptual metaphors Intermedialitet läsprocess mentala bilder mentala modeller möjliga världar fiktionsvärldar virtuella världar mentala platser semiotik kognitionsforskning kognitiv semantik kognitiv lingvistik kognitiv poetik narratologi fokalisering diegetiska nivåer luckor schemata scripts estetisk illusion ikonicitet
66	Real impossible worlds : the bounds of possibility Kiourti, Ira Georgia January 2010 (has links) Lewisian Genuine Realism (GR) about possible worlds is often deemed unable to accommodate impossible worlds and reap the benefits that these bestow to rival theories. This thesis explores two alternative extensions of GR into the terrain of impossible worlds. It is divided in six chapters. Chapter I outlines Lewis’ theory, the motivations for impossible worlds, and the central problem that such worlds present for GR: How can GR even understand the notion of an impossible world, given Lewis’ reductive theoretical framework? Since the desideratum is to incorporate impossible worlds into GR without compromising Lewis’ reductive analysis of modality, Chapter II defends that analysis against (old and new) objections. The rest of the thesis is devoted to incorporating impossible worlds into GR. Chapter III explores GR-friendly impossible worlds in the form of set-theoretic constructions out of genuine possibilia. Then, Chapters IV-VI venture into concrete impossible worlds. Chapter IV addresses Lewis’ objection against such worlds, to the effect that contradictions true at impossible worlds amount to true contradictions tout court. I argue that even if so, the relevant contradictions are only ever about the non-actual, and that Lewis’ argument relies on a premise that cannot be nonquestion- beggingly upheld in the face of genuine impossible worlds in any case. Chapter V proposes that Lewis’ reductive analysis can be preserved, even in the face of genuine impossibilia, if we differentiate the impossible from the possible by means of accessibility relations, understood non-modally in terms of similarity. Finally, Chapter VI counters objections to the effect that there are certain impossibilities, formulated in Lewis’ theoretical language, which genuine impossibilia should, but cannot, represent. I conclude that Genuine Realism is still very much in the running when the discussion turns to impossible worlds.

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