ІХ. РЕКОМЕНДОВАНА НАВЧАЛЬНО-МЕТОДИЧНА ЛІТЕРАТУРА

ІХ. РЕКОМЕНДОВАНА НАВЧАЛЬНО-МЕТОДИЧНА ЛІТЕРАТУРА

1. 
   Воробйова О.П. Когнітивна поетика: здобутки і перспективи // Вісник Харківського національного університету ім. В.Н. Каразіна – 2004. - № 635. – P.18-22.
   
2. 
   Воробьёва О.П. Вирджиния Вулф в аспекте языковой личности: когнитивный етюд // Языки и транснациональные проблемы / Мат-лы Первой Международной научн. конф. Т. ІІ / ИЯ РАН, ТГУ им. Г.Р.Державина, Ин-т исследования и развития литературных процессов в Австрии и в мире ─ INST (Вена, Австрия). ─ М.-Тамбов: ТГУ, 2004. ─ С. 50-55.
   
3. 
   Воробьёва О.П. Лингвистические аспекты адресованности художественного текста (одноязычная и межъязыковая коммуникация): Дис. ... докт. филол. наук / МГЛУ. – М., 1993.
   
4. 
   Воробьёва О.П. Текстовые категории и фактор адресата. – К.: Вища школа, 1993.
   
5. 
   Воробьёва О.П.Художественная семантика: когнитивный сценарий // С любовью к языку: Сб. научн. тр. Посвящается Е.С.Кубряковой. ─ М.-Воронеж: ВГУ, 2002. ─ С. 379-384.
   
6. 
   Гальперин И.Р. Текст как объект лингвистического исследования. – М.: Наука, 1981.
   
7. 
   Краткий словарь когнитивных терминов / Кубрякова Е.С., Демьянков В.З., Панкрац Ю.Г., Лузина Л.Г. – М.: МГУ, 1996.
   
8. 
   Мороховський О.М. Із неопублікованого // Вісник КНЛУ. ─ 2001. ─ Т.4, №1. ─ С. 7-19.
   
9. 
   Ревзина О.Г. Язык и метод: учение акад. В.В. Виноградова в свете современного гуманитарного знания // Весник МГУ. Сер. Филология. – 1995. - № 6.
   
10. 
    Селіванова О.О. Актуальні напрями сучасної лінгвістики (аналітичний огляд). – К.: Фітоцентр, 1999.
    
11. 
    Стилистика английского языка / Мороховский А.Н., Воробьёва О.П., Лихошерст Н.И., Тимошенко З.В. – К.: Вища школа, 1991.
    
12. 
    Тураева З.Я. Лингвистика текста. – М.: Просвещение, 1986.
    
13. 
    Brooks C., R.P. Warren. Interpretation: “A Rose for Emily” // Literary Theory in Praxis / Ed. by Sh. F. Staton. – Philadelphia: The Univ. of Pennsylvania Press, 1987. – P. 53-57.
    
14. 
    Cognitive Poetics in Practice / Ed. by J.Javins and J. Steen. – L. and N.Y. :Routledge, 2003
    
15. 
    Crosman R. How readers make meaning // Literary Theory of Praxis / Ed. by Sh. F. Staton. – Philadelphia: The Univ. of Pennsylvania Press, 1987. – P. 357-366.
    
16. 
    Dillon G.L. Styles of reading // Literary Theory in Praxis / Ed. by Sh. F. Staton. - Philadelphia: The Univ. of Pennsylvania Press, 1987. – P. 366-379.
    
17. 
    Eco U. Small worlds // Eco U. The Limits of Interpretation. ─ Blomington & Indianapolis: Indiana University Press, 1990. ─ P. 64-79.
    
18. 
    Fetterley J. A rose for “A Rose for Emily” // Literary Theory of Praxis / Ed. by Sh. F. Staton. – Philadelphia: The Univ. of Pennsylvania Press, 1987. – P. 270-277.
    
19. 
    Freeman M.H. Poetry and the scope of metaphor: Toward a cognitive theory of literature // Metaphor and Metonymy at the Crossroads: A Cognitive Perspective / Ed. by A. Barcelona. – B.; NY: Mouton de Gruyter, 2000. – P. 253-282.
    
20. 
    Freeman M.H. Metaphor making meaning: Dickinson’s conceptual universe // Journal of Pragmatics. – 1995. – No. 24. – P. 643-666.
    
21. 
    Happel N. William Faulkner’s “A Rose for Emily” // Literary Theory of Praxis / Ed. by Sh. F. Staton. – Philadelphia: The Univ. of Pennsylvania Press, 1987. – P. 154-159.
    
22. 
    Holland N.N. Fantasy and defense in Faulkner’s “A Rose for Emily” // Literary Theory of Praxis / Ed. by Sh. F. Staton. – Philadelphia: The Univ. of Pennsylvania Press, 1987. – P. 294-307.
    
23. 
    Kövecses Z. Metaphor: A Practical Introduction. ─ Oxford etc.: Oxford University Press, 2002.
    
24. 
    Ryan M.-L. Possible-worlds theory // Routledge Encyclopedia of Narrative
    
25. 
    Ryan M.-L. The Text as World Versus the Text as Game: The Implications of Possible Worlds Theory for Literary Semantics. – Memo / Presentation at the 2-d Conference of IALS / Freiburg, 1997.
    
26. 
    Scholes R. Semiotics and Interpretation. – New Haven; L.: Yale Univ. Press, 1982.
    
27. 
    Stockwell P. Cognitive Poetics: An Introduction. – L. and N.Y: Routledge, 2002.
    
28. 
    Tefs W.A. Norman N. Holland and “A Rose for Emily”: Some questions concerning psychoanalytical criticism // Literary Theory of Praxis / Ed. by Sh. F. Staton. – Philadelphia: The Univ. of Pennsylvania Press, 1987. – P. 352-356.
    
29. 
    Turner M. The Literary Mind. – NY; Oxford: Oxford Univ. Press, 1996.
    
30. 
    Vorobyova O. “The Mark on the Wall” and literary fancy // Cognition and Literary Interpretation in Practice / Ed. by B. Pettersson, H. Veivo, and M. Polvinen. – Helsinki: Helsinki University Press, 2005. ─ P. 201-217.
    

1. 
   Барт Р. Избранные работы: Семіотика. Поэтика: Пер. с фр. / Сост., общ, ред. и вступ. ст. Г.К.Костикова. ─ М.: Изд. группа "Прогресс", "Универс", 1994.
   
2. 
   Бахтин М.М. Эстетика словесного творчества. ─ М.: Искусство, 1979.
   
3. 
   Белехова Л.И. Архитепические словесные образы в современной американской поэзии // Вісник КЛУ. Серія. Філологія. – 1999. – Т. 2, № 2. – С. 26-38.
   
4. 
   Брандес М.П. Стилистика немецкого языка. Изд. 2-е. – М.: Высш. школа, 1990; М.: Высш. школа, 1983.
   
5. 
   Виноградов В.В. Проблема авторства и теория стилей. – М., 1961.
   
6. 
   Beaugrande, de R., Dressler W. Introduction to Text Linguistics. ─ L. & N.Y.: Longman, 1981.
   
7. 
   Cognitive Stylistics: Language and Cognitivon in Text Analysis / Ed by E. Semino and J. Culpeper. – Amsterdam; Philadelphia: John Benjamins, 2002.
   
8. 
   Dolezel L. Heterocosmica: Fiction and Possible Worlds. ─ Baltimore: John Hopkins Universiry Press, 1998.
   
9. 
   Eco U. Interpretation and Overinterpretation / Ed. by Stefan Collini. ─ Cambridge: Cambridge University Press, 1994.
   
10. 
    Fauconnier G. & Turner M. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. ─ N.Y.: Basic Books, 2002.
    
11. 
    Freeman M.H. Emily Dickinson and the discourse of intimacy // Semantics of Silences in Linguistics and Literature / Ed. by G.M. Grabner and U. Jessner. – Heidelberg: Universitätsverlag C. Winter, 1998. – P. 191-210.
    
12. 
    Lakoff G. & Turner M. More than Cool Reason: A Field Guide to Poetic Metaphor. ─ Chicago: University of Chicago Press, 1989.
    
13. 
    Paltridge B. Genre, Frames and Writing in Research Settings. – Amsterdam; Philadelphia: Benjamins Press, 1997.
    
14. 
    Reader-Response Criticism: From Formalism to Post-Structuralism / Ed. by J.P. Tompkins. – Baltimore; L.: The John Hopkins Univ. Press, 1994.
    
15. 
    A Reader’s Guide to Contemporary Literary Theory. 3d ed. / Ed. by R. Selden and P. Widdowson. – Lexington: The Univ. Press of Kentuky, 1993.
    
16. 
    Ryan M.L. Possible Worlds, Artificial Intelligence, and Narrative Theory. – Bloomington; Indianapolis: Indiana Univ. Press, 1991.
    
17. 
    Tsur R. Toward a Theory of Cognitive Poetics. ─ Amsterdam etc; Elsevier Science Publ., 1992.
    
18. 
    Werth P. Text Worlds: Representing Conceptual Space in Discourse. – Harlow: Longman, 1999.
    

Master's Seminar (16 hours)

1. 
   Evolution of the "text image": Text as a container. Text as a sense generator. Text as a cultural memory condenser. Text as represented knowledge. Types of text-represented knowledge and formats of its representation. Declarative knowledge vs. procedural knowledge. Textual situations, textual parentheses, textual signals.
   
2. 
   Textuality as a mechanism of text-formation: Textuality as a global property of text. Textuality standards :: text categories. Types of text categories. Immanent and relational TC. Semantic, pragmasemantic, semantic-syntactic TC.
   
3. 
   Text model in literary communication: Text as a macro-sign. Text as a communicative unit. Text as a speech unit. Facets of literary text as a verbal unit: semantic & structural, content & narrative, discursive. Layers of text structure: holistic, textonomic, transfrastic, architectonic, textemic. Organizing principles of text formation; accentuation, coupling, field structure, network building and chaining. Narrative manifestation of TC: narrative strategies and tactics, narrative perspectives, narrative point of view, compositional forms. Linguistic signals of TC: specialized vs. non-specialized.
   

1. 
   Main:
   

Селіванова О.О. Актуальні напрями сучасної лінгвістики (аналітичний огляд). –– К.: Фітоцентр, 1999.–– С. 106-125.

Воробйова О.П. Еволюція образу тексту у філологічних студіях // Мова і культура. (Науковий журнал). − К.: Вид Дім Дмитра Бураго, 2007. − Вип.9. − Т.ІУ (92). Лінгвокультурологічна інтерпретація тексту. − С. 125-130.

2. 
   Additional:
   

Воробьёва О.П. Текстовые категории и фактор адресата. ––– К.: Вища школа, 1993.

Гальперин И.Р. Текст как объект лингвистического исследования. –– М.: Наука, 1981.

Тураева З.Я. Лингвистика текста. –– М.: Просвещение, 1986.

Beaugrande R., de, & W. Dressler. Introduction to Text Linguistics. –– London & New York: Longman, 1981.

Seminar One

Trends of literary text interpretation. Part One.

1. 
   Hermeneutics, interpretation and stylistic analysis: Philology and hermeneutics ––– ancestor hopping. Hermeneia (interpretation) vs. hermenekia (a meaningful discourse). Kinds of hermeneutics: theological vs. philological hermeneutics. Interpretation as a technique of literary text analysis. Interpretation as putting forward and verifying a hypothesis about the meaning of the whole text. Interpretation as exteriorization of implicit knowledge. Interpretation as deciphering hidden (covert) meanings that are behind overt meanings. Hierarchy of senses in literary text. Strategies of interpretation: universal and optimality strategies. Literary text interpretation vs. stylistic analysis of literary text.
   

2. 
   Methods of literary text interpretation. Semiotics and interpretation: Hermeneutics and authorial (intentional) meaning of the text. New Criticism and textual meaning. Reader-Response Criticism and the readers' meaning. Semiotic methodology of interpretation and meaning constraints.
   

3. 
   Semiotic interpretation: A case study ('A Very Short Story' by E. Hemingway): A literary text as a network of codes. Story then (as narration and events narrated; referential) vs. discourse now (as the contact between the author/ narrator and the readership/ narratee; rhetorical; authorial/ narratorial presence; addressee-orientation). 'A Very Short Story' as a story. Text (récit, recital, narration) vs. events (diegesis, the events narrated, characters, a diegetic, chronological order/ structure). The story as constructed by the reader; rules of inference; internalized codes. 'A Very Short Story' as a (selectively manly) reticent story, a pure diegesis. Roland Barthes' personal system test: voice vs. vision.
   

О.М.Мороховський: Із неопублікованого // Вісник КНЛУ. Сер. Філологія.–– 2001. ––– Т.4, № 1. ––– С. 7-19.

Sсholes, Robert. Semiotics and Interpretation. ––– New Haven and London: Yale University Press, 1982. –– P. 110-126.

b) Additional:

Eco, Umberto. Interpretation and Overinterpretation / Ed. by Stefan Collini. ––– Cambridge: Cambridge University Press, 1994.

Hemingway, Ernest. A Very Short Story // Sudden Fiction; American Short-Short Stories / Ed. by Robert Shapard & James Thomas. ––– Salt Lake City: Gibbs-Smith Publishers, 1986. ––– P. 126-127.

1. 
   Semiotic approaches to literary text interpretation: A metamethod.
   
2. 
   Tzvetan Todorov: a grammar of fiction: Main features of Todorov's grammar (recurrent syntactic and semantic coding) ––– the reduction of fictions to plot structures & coding its semantic features to thematic concerns. Todorovian symbolic notation as a means of isolating the major action (a master story) in a work of fiction, of thematizing the work. Kinds of fictional propositions: attributions & actions. Stories as transformation of attributes.
   
3. 
   Gérard Genette: a rhetoric of fiction: Main aspects of fictional texts (the verb grammar) ––– tense, mood, and voice. Fictional tense (temporal arrangements) ––– order, duration, and frequency. Order as the chronology of the story vs. its discourse presentation. Duration as a speed (velocity) of narration: the ellipsis (infinitely rapid); the summary (relatively rapid); the scene (relatively slow); the descriptive pause (zero degree of progress). Frequency as recurrent happenings vs. recurrent descriptions. Fictional mood ––– distance and perspective. Narrative distance as the amount and precision of detail given (the effect of the real). Narrative perspective as 'showing' (the eyes we see through) vs. 'telling' (the voice we hear); as a matter of focus (internal vs. external, fixed vs. variable, multiple, and unfocused perspectives). The narrative strategy of 'paralipse' as withholding the information the reader 'ought' to know vs. the narrative strategy of 'paralepse' as giving the reader the information that has to be inaccessible (all according to the prevailing focus). Paralipse and paralepse as a source of irony. Fictional voice as the relation between distinguishable narrators and the tales they relate.
   
4. 
   Roland Barthes: a semiotic of fiction: Lexias and codes. The proairetic code (code of actions) ––– all actions are codable. The hermeneutic code (code of puzzles, or enigmas) ––– responsible for suspense. The cultural codes. The connotative codes ––– clusters of connotations → common nucleus of connotations → a theme in a text. The symbolic field as symbolic oppositions
   
5. 
   Joyce's 'Eveline': A case study: The story's grammar ––– a detailed symbolic notation. 'Eveline' as the negation of fairy tales & the inversion of romance. 'Eveline' and the persistence of unpleasant conditions. The story's rhetoric ––– (i) tense: base time (two scenes) and temporal shifts; time as a major element of Eveline's situation ––– Eveline as someone trapped in the past; the story's novelistic rhythm; (ii) mood: the emphasis on 'showing' rather than 'telling'; the shifts in narrative focus; Joyce as a highly paraleptic writer; Eveline as a focus (unintelligent intelligence, a limited mind trying to cope with a painful situation); 'Eveline' as a 'scriptible' text; (iii) voice: a ventriloqual effect. The story's codes ––– (i) code of actions: a story of paralysis; (ii) code of enigmas: Frank is an enigma, Eveline's mother is a bit of that, Eveline's refusal as a final enigma ––– all never solved; (iii) cultural codes: the code of Irish Catholicism; (iv) connotative codes: the code of paralysis as the dominant one (Eveline's motionlessness, monotonous sentence structures, the paralyzed Blessed Margaret etc. – Eveline has no choice because she is a Dubliner who never decides, never escapes; (v) the symbolic code: sexed vs. unsexed (celibate vs. profligate); Frank (water, freedom, the unknown, the future, sexual potency) vs. Eveline & her father (dusty, slavey, the known, rooted in the past, fruitless, sterile, impotent, celibate, a kind of nun, a Dubliner); cognition vs. articulation (the state of symbolic deprivation, rendered incommunicado).
   

1. 
   Main:
   

Murphy T.P. Interpreting marked order narration: The case of James Joyce's "Eveline" // Journal of Literary Semantics. ––– 2005. ––– V.34, No.2. –– P. 107-124.

2. 
   Additional:
   

Joyce, James. Eveline // Sсholes, Robert. Semiotics and Interpretation. ––– New Haven and London: Yale University Press, 1982. –– P. 105-109.

1. 
   William Faulkner's "A Rose for Emily" from a New Criticism perspective: "A Rose for Emily" as a horror story. The distinction between reality and illusion, between reality and appearance. Emily Grierson as a fallen monument. Miss Emily as a combination of idol and scapegoat for the community. Emily Grierson's meeting the world on her own terms. Madness or "madness"? Miss Emily as a tragic figure.
   
2. 
   William Faulkner's "A Rose for Emily" from a structural-semiotic perspective: The narrative perspective in "A Rose for Emily": (i) shifts of the focus; (ii) uncertainty of the 'we' group; (iii) the narrator as a part of depicted reality. The narrative tension in the story: (i) the meaning of the story's title; (ii) a mystery of the smell; (iii) the macabre and the comic; (iv) fictional time.
   
3. 
   William Faulkner's "A Rose for Emily" from a sociological perspective: "A Rose for Emily" as a story of grotesque. The grotesque of the story from a feminist perspective: (i) the reversion of the gender expectations; (ii) the sexual conflict and the female revenge; (iii) Emily as a cultural artifact; (iv) Emily in her psychic confinement ––– a Miss; (v) the issue of violence and its effects ––– a lady; (vi) the irony of the rose. The grotesqueness of stereotypes being imposed upon reality. Emily as metaphor and mirror for the town of Jefferson. A sexist culture is one in which men and women are not simply incompatible but murderously so. The disparity between cultural myth and cultural reality.
   
4. 
   William Faulkner's "A Rose for Emily" from a psychoanalytic perspective: Symbolism in "A Rose for Emily" –– the unconscious themes of a feminine body: (i) Griersons' house; (ii) the 'rose' of the title; (iii) the imagery of dust, dirt, and smell; (iv) money and feces; (v) an oedipal component of the story ––– Emily's masculinization; (vi) the symbol of voice and speech. Control (grounded in shaming) as the basic issue of the story. Love as possession. Miss Emily's (mal)adaptive strategies of denial and incorporation.
   
5. 
   William Faulkner's "A Rose for Emily" from a Reader-Response perspective: Making meaning. Each reader responds to a text according to his/ her psychological and social constraints. Codes as reading strategies applied to texts as a jumble of features or elements. Readers make meaning through negotiating a series of oppositions that the text has left unresolved. The ambiguities and tensions in "A Rose for Emily": (i) Emily's character ––– from the victimized to a victimizer; the change of appearance; (ii) vagueness of subjects and themes ––– man/woman polarity, age & youth, parent & child, black & white, individual & group, North & South, past & present, love & hate, life & death (death-in-life); the family → the community → the nation → the universe; (iii) displaced chronology and the narrator's limited point of view. Performing narrative. Inferring and connecting in event chaining. Reading styles: Character-Action-Moral (CAM) style (oriented toward the proairetic code), the Digger for secrets style (oriented toward the hermeneutic code), and the Anthropologist style (oriented toward the referential, cultural code ––– identifying cultural norms and values). Immersion (and identification with the character) vs. analytical distancing.
   

Brooks C. and Warren R.P. Interpretation: "A Rose for Emily" // Literary Theory in Praxis / Ed. by Shirley F.Staton. ––– Philadelphia: The University of Pennsylvania Press, 1987.

Crosman R. How Readers Make Meaning // Literary Theory in Praxis / Ed. by Shirley F.Staton. ––– Philadelphia: The University of Pennsylvania Press, 1987.

Dillon G.L. Styles of Reading // Literary Theory in Praxis / Ed. by Shirley F.Staton. ––– Philadelphia: The University of Pennsylvania Press, 1987.

Fetterley Ju. A Rose for "A Rose for Emily" // Literary Theory in Praxis / Ed. by Shirley F.Staton. ––– Philadelphia: The University of Pennsylvania Press, 1987.

Happel N. William Faulkner's "A Rose for Emily" // Literary Theory in Praxis / Ed. by Shirley F.Staton. ––– Philadelphia: The University of Pennsylvania Press, 1987.

Holland N.N. Fantasy and defense in Faulkner's "A Rose for Emily" // Literary Theory in Praxis / Ed. by Shirley F.Staton. ––– Philadelphia: The University of Pennsylvania Press, 1987.

Tefs W.A. Norman N. Holland and "A Rose for Emily" ––– Some Questions Concerning Psychoanalytical Criticism // Literary Theory in Praxis / Ed. by Shirley F.Staton. ––– Philadelphia: The University of Pennsylvania Press, 1987.

3. 
   Material for analysis:
   

1. 
   Cognitive poetics: The definition & realm of research. Schools & personalia.
   
2. 
   Cognitive poetics: Theoretical assumptions and methodology.
   
3. 
   Conceptual metaphor in literary discourse. Basic metaphors and their transformations (extension, combination, elaboration, and questioning).
   
4. 
   A case study: Virginia Woolf's 'The Mark on the Wall'.
   

Воробйова О.П. Когнітивна поетика: здобутки і перспективи // Вісник Харківськ. нац. ун-ту ім. В.Н.Каразіна. ––– 2004. –––– №635. –––– С. 18-22

Kövecses Z. Metaphor in literature // Kövecses Z. Metaphor: A Practical Introduction. ––– Oxford etc.: Oxford University Press, 2002. –––– P. 43-53

Stockwell P. Introduction: Body, mind and literature // Stockwell P. Cognitive Poetics: An Introduction. ––– L.: Routledge, 2002. –––– P. 1-11.

Vorobyova O. "The Mark on the Wall" and literary fancy // Cognition and Interpretation in Practice / Ed. by H.Veivo, B.Petterson and M.Polvinen. ––– Helsinki: Helsinki university Press, 2005. ––– P. 201-217.

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