Cognitive Rhetoric of Effect: Energy Flow As a Means of Persuasion in Inaugurals
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Literature and the Cognitive Revolution: an Introduction
Literature and the Cognitive Revolution: An Introduction Alan Richardson English, Boston College Francis F. Steen Communication Studies, UCLA Literary studies and the cognitive sciences, pursuing common interests in language, mental acts, and linguistic artifacts, have developed markedly different approaches to similar phenomena of reading, imaginative involve- ment, and textual patterning. Until quite recently, the distance between them has drawn more attention than their possible convergence (Franchi and Güzeldere ). A number of literary theorists and critics, however, have steadily been producing work that finds its inspiration, its method- ology, and its guiding paradigms through a dialogue with one or more fields within cognitive science: artificial intelligence, cognitive psychology, post- Chomskian linguistics, philosophy of mind, neuroscience, and evolution- ary biology. Reuven Tsur () has been developing his ‘‘cognitive poet- ics’’ since the s; the prominent psychoanalytic critic Norman Holland (: ) demonstrated the advantages of attending to the ‘‘more powerful psychology’’ emerging from cognitive neuroscience in ; Mark Turner (: viii) advanced his far-reaching project of a ‘‘cognitive rhetoric’’ in ; and Ellen Spolsky (: ) trenchantly brought a theory of ‘‘cogni- tive instability’’ to bear on literary interpretation in . These and like- minded critics respond to the limitations (or, in Spolsky’s case, missed op- portunities) of poststructuralist conceptions of meaning and interpretation by questioning the reigning models in the field, whether in the interest of Poetics Today : (Spring ). Copyright © by the Porter Institute for Poetics and Semiotics. Downloaded from http://read.dukeupress.edu/poetics-today/article-pdf/23/1/1/458295/01.pdf by guest on 25 September 2021 2 Poetics Today 23:1 displacing, reworking, supplementing, or fundamentally regrounding them (Hart ). -
The DIVIDED SELF Metaphor: a Cognitive-Linguistic Study of Two Poems by Nabokov1
International Journal of IJES English Studies UNIVERSITY OF MURCIA http://revistas.um.es/ijes The DIVIDED SELF metaphor: A cognitive-linguistic study of two poems by Nabokov1 Mª ASUNCIÓN BARRERAS GÓMEZ * Universidad de La Rioja Received: 30/10/2014. Accepted: 17/02/2015. ABSTRACT This paper will approach two of Nabokov’s poems from the perspective of embodied realism in Cognitive Linguistics. We will shed light on the reasons why we believe that Nabokov makes use of the DIVIDED SELF metaphor in his poetry. In the analysis of the poems we will explain how the Subject is understood in the author’s life in exile whereas the Self is understood in the author’s feelings of anguish and longing for his Russian past. Finally, we will also explain how Nabokov’s use of the DIVIDED SELF metaphor thematically structures both poems. KEYWORDS: Cognitive Linguistics, DIVIDED SELF metaphor, Subject, Self. RESUMEN Este artículo explicará dos poemas de Nabokov desde la perspectiva de la lingüística cognitiva. Se razonará porqué consideramos que Nabokov utiliza la metáfora del YO DIVIDIDO en su poesía. En el análisis se explicará cómo el sujeto se entiende en la vida del exilio del autor mientras que el ego se aprecia en los sentimientos de angustia y nostalgia por su pasado ruso. Finalmente, también explicaremos cómo el uso de la metáfora del YO DIVIDIDO estructura temáticamente ambos poemas. PALABRAS CLAVE: Lingüística cognitiva, metáfora del YO DIVIDIDO, sujeto, ego. _____________________ *Address for correspondence: María Asunción Barreras Gómez. Departamento de Filologías Modernas, Universidad de la Rioja, C/ San José de Calasanz s/n, 26004 Logroño (La Rioja), Spain; e-mail: [email protected] © Servicio de Publicaciones. -
Writing Instruction in American Colleges, 1900-1985. Studies in Writing & Rhetoric
DOCUMENT RESUME ED 284 257 CS 210 701 AUTHOR Berlin, James A. TITLE Rhetoric and Reality: Writing Instruction in American Colleges, 1900-1985. Studies in Writing & Rhetoric. INSTITUTION Conference on Coll. Composition and Communication, Urbana, Ill. REPORT NO ISBN-0-8093-1360-X PUB DATE 87 NOTE 237p.; Foreword by Donald C. Stewart. AVAILABLE FROMSouthern Illinois University Press, P.0 Box 3697, Carbondale, IL 62901 ($8.50). PUB TYPE Books (010) -- Information Analyses (070) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Classroom Techniques; *College English; *Educational History; Educational Philosophy; *Epistemology; *Expository Writing; Higher Education; *Rhetoric; Theory Practice Relationship; Writing (Composition); Writing Instruction IDENTIFIERS *Rhetorical Theory ABSTRACT Intended for teachers of college composition, this history of major and minor developments in the teaching of writing in twentieth-century American colleges employs a taxonomy of theories based on the three epistemological categories (objective, subjective, and transactional) dominating rhetorical theory and practice. The first section of the book provides an overview of the three theories, specifically their assumptions and rhetorics. The main chapterscover the following topics: (1) the nineteenth-century background, on the formation of the English department and the subsequent relationship of rhetoric and poetic; (2) the growth of the discipline (1900-1920), including the formation of the National Council of Teachers of English, the appearance of the major schools -
Cognitive Poetics
Cognitive Poetics Chloe Harrison and Peter Stockwell The origins and principles of cognitive poetics The explicit application of cognitive science to literary studies has a fairly recent history. The term ‘cognitive poetics’ was coined by Reuven Tsur in the 1970s to refer to his own research in the perceptual effects of literary works in readers (see Tsur 1992). Over the last two decades, the term has expanded its application to include the study of literary texts and readings which draws on cognitive psychology and cognitive linguistics. Even more broadly, a ‘cognitive literary studies’ has emerged in which more general matters of evolutionary criticism, embodiment and social cognition have been brought to bear as part of a critical theory of literature. In this chapter, we take the middle extent of the field of cognitive poetics: the study of literary texts and readings which draws centrally on cognitive psychology and cognitive linguistics. Central to this view of the field is a stylistic concern that any readerly or interpretative account must be underpinned by transparent textual evidence. Of course, the implicit understanding that matters of readerly perception and cognition are pertinent to the reading of literature is a practice as old as the most ancient observations on literary activity. To this extent, a consistent thread can be delineated stretching from ancient Greek, Roman, Indian and Chinese rhetorical arts to the present account (which has even occasionally been termed ‘cognitive rhetoric’). In our own time, however, the scholarly study of literature has been seized by successive crises of confidence throughout the 20th century, culminating in an anxiety about its own ‘Theory’ that has most recently been resolved by a retreat into historiography: obscurantism has been replaced by a rather simple ‘history of the book’ and literary scholarship has essentially become a narrow form of cultural studies. -
Revising for Readers: Audience Awareness in the Writing Classroom, 147 KAREN A
Hearing Ourselves Think SOCIAL AND COGNITIVE STUDIES IN WRITING AND LITERACY Linda Flower, Series Editor Oxford University Press and The Center for the Study of Writing at Berkeley and Carnegie Mellon A series devoted to books that bridge research, theory, and practice, exploring social and cognitive processes in writing and expanding our knowledge of literacy as an active construction process-—as students move from high school to college and the community. The Center for the Study of Writing (CSW), with the support of the Office of Educa- tional Research and Improvement, conducts research on the development of writers and on writing and literacy as these are taught and learned in the home, in elementary and secondary school, in college, in the workplace, and in the community. In conjunc- tion with schools and teachers, CSW develops projects that link writing research to classroom practice. A list of publications is available from CSW at the University of California, Berkeley, 5513 Tolman Hall, Berkeley, CA 94720 Reading-to- Write: Exploring a Cognitive and Social Process Linda Flower, Victoria Stein, John Ackerman, Margaret J. Kantz, Kathleen McCormick, Wayne C. Peck Hearing Ourselves Think: Cognitive Research in the College Writing Classroom Edited by Ann M. Penrose, Barbara M. Sitko Hearing Ourselves Think Cognitive Research in the College Writing Classroom Edited by ANN M. PENROSE BARBARA M. SITKO New York Oxford OXFORD UNIVERSITY PRESS 1993 Oxford University Press Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Kuala Lumpur Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland Madrid and associated companies in Berlin Ibadan Copyright © 1993 by Oxford University Press, Inc. -
Multimodality and Composition Studies, 1960 - Present
MULTIMODALITY AND COMPOSITION STUDIES, 1960 - PRESENT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jason Palmeri, M.A. *********** The Ohio State University 2007 Dissertation Committee: Approved by Dr. Cynthia L. Selfe, Advisor Dr. Scott Lloyd DeWitt _______________________ Advisor Dr. Brenda Jo Brueggemann English Graduate Program Dr. Richard Selfe Copyright by Jason Palmeri 2007 ABSTRACT Challenging composition’s tendency to focus exclusively on alphabetic literacy, numerous composition scholars have called for a turn to teaching students to produce texts that explicitly blend words, images, and sounds. In calling for this multimodal turn, compositionists have argued that multimodal texts are becoming increasingly central in workplace and civic realms and that students are increasingly arriving in our classrooms with strong visual / multimodal literacies. In making these persuasive arguments for the need to move beyond alphabetic literacy in composition, scholars have understandably emphasized composition’s historical lack of engagement with visual and multimodal textual production. I contend, however that if we look closely at expressivist, cognitivist, and social composition theories of the 1960s, 1970s, and 1980s, we can uncover a rich heritage of compositionists engaging issues of multimodality. In looking at the ways in which past composition theories engaged issues of multimodality, I ultimately seek to elucidate the -
3082927.PDF (5.567Mb)
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI* The University of Oklahoma Graduate College EXCLUDING THE MASSES; APTITUDE IN CLASSICAL AND MODERN RHETORICAL THEORY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY By Phillip P. Marzluf Norman. Oklahoma 2003 UMI Number: 3082927 UMI UMI Microform 3082927 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Mi 48106-1346 Copyright by Phillip P. -
Des Herzraums Abschied: Mark Johnson's Theory of Embodied Knowledge and Music Theory
Des Herzraums Abschied: Mark Johnson's Theory of Embodied Knowledge and Music Theory Lawrence M. Zbikowski "Du Fremde: Musik. Du uns entwachsener Herzraum. Innigstes unser, das, uns iibersteigend, hinausdrkgt, - heiliger Abschied. ." Rainer Maria Rilke, An die Musik usic theory can seem, at times, a relentlessly abstract discipline. Although we theorists often play music, and illustrate our points with music, and even enjoy music, what theory is about, fust and foremost, is concepts. And concepts, as we all know, originate in the mind. Or do they? Consider a staple of musical description, the paired notions of tension and release. Various mu- sical situations can be described in terms of tension and release; for instance: Example 1: Dominant seventh to tonic. Example 2: Sibelius, Sixth Symphony, first movement, rnm. 255-266. m. 255 Poco mquillo DESHERZRAUMS ABSCHIED Example 3: Sonority with chromatic cluster to sonority 'withdut chromatic cluster. Each of these characterizations poses few problems-we understand more or less immediately how each situation embodies tension and release. However, it is actually very difficult to explain why the notions of tension and release have any relevance here. Standard dictionary definitions of "ten- sion" and "release" scarcely encompass such musical situations. From the evidence, there also seems little prospect for adequate music-theoretical definitions: the "four-measure mezzo forte passage in the strings and winds" of Example 2 could itself be a generator of tension within another context; the "tense" dominant-seventh chord of Example 1 is actually embedded in the "release" sonority of Ex- ample 3. One way to solve these difficulties would be simply to banish such imprecise language from our descriptions of music. -
ATTENTION, DIGITAL MEDIA, and the FUTURE of COMPOSITION Christian D
University of South Carolina Scholar Commons Theses and Dissertations 8-9-2014 FROM CAPTURE TO CARE: ATTENTION, DIGITAL MEDIA, AND THE FUTURE OF COMPOSITION Christian D. Smith University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Recommended Citation Smith, C. D.(2014). FROM CAPTURE TO CARE: ATTENTION, DIGITAL MEDIA, AND THE FUTURE OF COMPOSITION. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/2788 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. FROM CAPTURE TO CARE: ATTENTION, DIGITAL MEDIA, AND THE FUTURE OF COMPOSITION by Christian D. Smith Bachelor of Arts University of Louisville, 2003 Master of Arts Murray State University, 2007 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in English College of Arts and Sciences University of South Carolina 2014 Accepted by: Byron Hawk, Major Professor Christy Friend, Committee Member John Muckelbauer, Committee Member James Brown, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies ! © Copyright by Christian D. Smith, 2014 All Rights Reserved.! ii DEDICATION For my son, Julian. ! iii !!!!!! ACKNOWLEDGEMENTS I would like to express my gratitude to a network of people who made the writing of this dissertation possible. First, my wife, who agreed to move hundreds of miles away without a moment of hesitation and who never ceased to encourage me along the way. I cannot imagine what my graduate school experience would have been like without her. -
Bridging Rhetoric and Pragmatics with Relevance Theory
Texas A&M University School of Law Texas A&M Law Scholarship Faculty Scholarship 9-2018 Bridging Rhetoric and Pragmatics with Relevance Theory Brian N. Larson Texas A&M University School of Law, [email protected] Follow this and additional works at: https://scholarship.law.tamu.edu/facscholar Part of the Other Arts and Humanities Commons, Other Communication Commons, Rhetoric and Composition Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Brian N. Larson, Bridging Rhetoric and Pragmatics with Relevance Theory, 69 (2018). Available at: https://scholarship.law.tamu.edu/facscholar/1251 This Book Section is brought to you for free and open access by Texas A&M Law Scholarship. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Texas A&M Law Scholarship. For more information, please contact [email protected]. Brian N. Larson Bridging Rhetoric and Pragmatics with Relevance Theory Abstract: In this chapter, I bridge rhetoric and pragmatics, both of which concern themselves with language-in-use and meaning-making beyond formal syntax and semantics. Previous efforts to link these fields have failed, but Sperber and Wilson’s relevance theory (RT), an approach to experimental pragmatics grounded in cognitive science, offers the bridge. I begin by reviewing Gricean pragmatics and its incompatibility with rhetoric and cognitive science. I then sketch RT, but importantly, I identify revisions to RT that make it a powerful tool for rhetorical analysis, a cognitive pragmatic rhetorical (CPR) theory. CPR theory strengthens RT by clarifying what it means to be relevant – and irrelevant – in relevance-theoretic terms. -
An(Other) Rhetoric: Rhetoric, Ethics, and the Rhetorical Tradition Kathleen Sandell Hardesty University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 An(other) Rhetoric: Rhetoric, Ethics, and the Rhetorical Tradition Kathleen Sandell Hardesty University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Ethics and Political Philosophy Commons, and the Rhetoric Commons Scholar Commons Citation Hardesty, Kathleen Sandell, "An(other) Rhetoric: Rhetoric, Ethics, and the Rhetorical Tradition" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4898 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. An(other) Rhetoric: Rhetoric, Ethics, and the Rhetorical Tradition by Kathleen Sandell Hardesty A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Department of English College of Arts and Sciences University of South Florida Major Professor: Marc Santos, Ph.D. Carl Herndl, Ph.D. Debra Jacobs, Ph.D. Date of Approval: November 8, 2013 Keywords: invitational rhetoric, identification, responsibility to others, listening and acknowledgement, kairos and sophistic rhetoric, persuasion Copyright © 2013, Kathleen Sandell Hardesty DEDICATION For John and Cora, who are always on my mind and in my heart, though you are not yet in my arms. ACKNOWLEDGMENTS I would like to offer many thanks to the members of my thesis committee. In particular, thank you to Dr. Marc Santos, who started this whorl and gave me more questions than answers. -
Poetics and Cognitive Science
Introduction: Exchange Values: Poetics and Cognitive Science Mark J. Bruhn Regis University, English Theory of literature, literary criticism and interpretation, literary and cultural history, semiotics of culture, linguistics, rhetoric and communications, cultural anthropology, cognitive studies, translation theory: . the common denominator of all this diversity is the ambition to understand literary and cultural texts both in their own right and in the context of other . systems; to develop advanced theories of literature, communication, and culture, and advanced methods of research; and to integrate the study of literature within the evolving larger field of the human sciences and ultimately that of the sciences at large. Before I divulge the provenance of my epigraph, allow me to highlight three features of the ambitious interdisciplinary program it outlines. First, cognitive studies is but one among nine well- differentiated fields: it evi- dently contributes not a master theory but what might be called an “asso- ciate theory” to their common enterprise. Second, as an associate theory or set of theories, cognitive studies takes its place in a logical order of inquiry that begins with a specific object of considerable complexity, “literature,” and proceeds in stepwise fashion through mediating frames of critical practice, historical moment, semiotic My thanks to H. Porter Abbott, Margaret H. Freeman, Tony E. Jackson, Alan Richardson, Ellen Spolsky, Kelley Young, and especially Meir Sternberg for their thoughtful criticism and suggestions. Poetics Today 32:3 (Fall 2011) doi 10.1215/03335372-1375243 © 2011 by Porter Institute for Poetics and Semiotics Downloaded from http://read.dukeupress.edu/poetics-today/article-pdf/32/3/403/459018/PT323_01Bruhn_Fpp.pdf by guest on 01 October 2021 404 Poetics Today 32:3 code, cultural set, and psychological structure before proposing to reach the most general levels of cross- cultural (“translation theory”) and inter- disciplinary integration.