Playing by ear and the tip of the tongue: precategorial information in poetry
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Benjamins
2012
|
| Schriftenreihe: | Linguistic approaches to literature
14 |
| Schlagworte: | |
| Online-Zugang: | http://scans.hebis.de/HEBCGI/show.pl?30676734_toc.html http://scans.hebis.de/HEBCGI/show.pl?30676734_kub.html http://scans.hebis.de/HEBCGI/show.pl?30676734_aub.html Inhaltsverzeichnis |
| Beschreibung: | Literaturverz. S. [293] - 300 |
| Beschreibung: | X, 308 S. Ill. |
| ISBN: | 9789027233493 9789027273253 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Titel: Playing by ear and the tip of the tongue
Autor: Ṣûr, Re ûvēn
Jahr: 2012
Table of Contents
Preface xi
CHAPTER 1
Introduction 1
1.1 Precategorial Information and critical communication 1
1.2 Speech mode , Nonspeech mode , Poetic mode 4
1.3 Thing destruction and thing-free qualities 5
1.4 The Roses of her Cheeks 8
1.5 Perceptual boundaries and fusion 9
1.6 Precategorial - predecessors and successors 12
1.7 Guide through this book 14
CHAPTER 2
The poetic mode of speech perception revisited:
What our ear teils our mind 19
2.1 Stating the problem 19
2.2 Some experimental evidence 22
2.3 Speech mode, nonspeech mode and poetic mode 25
2.4 Colour and overtone interaction 29
2.5 Individual differences 33
2.6 Summary and conclusions 35
chapter 3
The tot phenomenon: A psycholinguistic model of poetry 37
3.1 The tot phenomenon 37
3.2 Referentiality, serial position, and the God-gifted organ-voice of
England 47
3.3 Summary and conclusions 48
chapter 4
Oceanic dedifFerentiation and poetic metaphor 51
4.1 Rapid vs. delayed conceptualization 51
4.2 Poetic metaphors 54
4-3 Oceanic imagery in Faust 61
4-4 Conclusions 63
viii Playing by Ear and by Tip ofthe Tongue
CHAPTER 5
Deixis and abstractions: Adventures in space and time 65
5.1 Sequential and spatial processing 67
5.2 Time in poetry 71
5.3 More on the abstract ofthe concrete 79
5.4 Total Complexes and Just Noticeable Differences 88
5.5 Feeling and knowing 91
5.6 Conclusion 93
chapter 6
Three case studies - Keats, Spenser, Baudelaire 95
6.1 Poetry and altered states of consciousness 95
6.2 On Seeing the Elgin Marbles 96
6.3 Alternative mental Performances 98
6.4 Symbol and allegory 99
6.5 Keats and Marlowe 100
6.6 Ambiguity and soft focus 102
6.7 Chearlesse Night in Spenser and Baudelaire 107
6.8 To sum up 114
chapter 7
Linguistic devices and ecstatic poetry:
The Windhover - tongue-twisters and cognitive processes 117
7.1 Ecstatic quality, linguistic devices, and cognitive processes 117
7.2 Vocal Performance and lingering precategorial auditory Information 125
chapter 8
Defamiliarization revisited 131
chapter 9
Aesthetic qualities as structural resemblance: Divergence
and perceptual forces in poetry 139
9.1 Emotional qualities and onomatopoeia 139
9.2 Convergent and divergent style 143
9.3 Perceptual forces (large scale) 145
9.4 Perceptual forces (minute scale) 149
9.5 Materials and structures 153
Appendix 154
Table of Contents ix
CHAPTER10
Metaphor and figure-ground relationship: Comparisons from poetry,
music, and the visual arts 159
10.1 Basic gestalt rules of figure-ground 159
10.2 Figure and ground in the visual arts 163
10.3 Form in other senses 165
10.4 Figures in narrative 167
10.5 Figure and ground (?) in poetry: Emily Dickinson 168
10.6 Figure and ground (?) in Shakespeare 172
10.7 Figure-ground reversal in music: Moonlight Sonata 179
10.8 Literature: Figure-ground reversals of the extralinguistic 184
10.9 Summary and wider perspectives 189
CHAPTER 11
Size-sound symbolism revisited 193
11.1 Preliminary 193
11.2 Phlogiston and precategorial Information 194
11.3 Sound symbolism and sources size 198
11.3.1 Sound symbolism and referent s size 207
11.4 Descriptive reduplication in Japanese 216
11.5 Methodological comments 217
CHAPTER 12
Issues in literary synaesthesia: A brief glance 223
12.1 Synaesthesia as a neuropsychological and a literary phenomenon 223
12.2 Four kinds of explanation 224
12.3 Panchronistic tendencies in synaesthesia 226
12.4 Aesthetic qualities: Witty and emotional 227
12.5 Overriding downward transfers 231
12.6 Synaesthesia and ecstatic quality: Two French sonnets 233
12.6.1 To sum up 240
CHAPTER 13
The place of nonconceptual Information in university education 241
13.1 Logic of What? 241
13-2 Rapid and delayed categorization 243
13.3 Sensuous metaphors and the grotesque 250
13.4 Summary and conclusions 255
x Playing by Ear and by Tip of the Tongue
CHAPTER14
Points and counterpoints 259
14.1 Persingers Undings and poetry criticism 259
14.2 Dover Beach - two cognitive readings 265
14.3 Speculative vs. empirical 271
14.4 The Sound ofMeaning 271
14.5 Coding strategy and storage time 274
14.6 On Interpretation 276
14.7 On major/minor keys 278
14.8 The split brain and poetic qualities 286
14.9 To conclude 291
References 293
Index 301
Media files for this volume can be found online at
http://dx.doi.org/10.1075/lal. 14.media
(f) This logo marks the availability of an audio file.
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| title | Playing by ear and the tip of the tongue precategorial information in poetry |
| title_auth | Playing by ear and the tip of the tongue precategorial information in poetry |
| title_exact_search | Playing by ear and the tip of the tongue precategorial information in poetry |
| title_full | Playing by ear and the tip of the tongue precategorial information in poetry Reuven Tsur |
| title_fullStr | Playing by ear and the tip of the tongue precategorial information in poetry Reuven Tsur |
| title_full_unstemmed | Playing by ear and the tip of the tongue precategorial information in poetry Reuven Tsur |
| title_short | Playing by ear and the tip of the tongue |
| title_sort | playing by ear and the tip of the tongue precategorial information in poetry |
| title_sub | precategorial information in poetry |
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