Міністерство освіти І науки України київський національний лінгвістичний університет базові навчально-методичні матеріали

Tsur R. Toward a Theory of Cognitive Poetics. ––– Amsterdam etc. : Elsevier Science Publ., 1992

Turner M. The Literary Mind. ––– N.Y.; Oxford: Oxford University Press, 1996.

2. 
   Material for analysis:
   

1. 
   Conceptual integration in literary discourse: Conceptual integration network via cognitive operations (composition, completion, and elaboration).
   
2. 
   Techniques of conceptual analysis: (i) identifying textual challenges (ambiguity sites, textual anomalies, signals of suspense etc.); (ii) construing conceptual metaphor clusters; (iii) tracing the discourse dynamics of mental spaces; (iv) building up the dominant conceptual integration network; (v) disentangling the web of mental spaces through (a) building isotopic configurations of thematically bound words, (b) computing these and other (syntactical, phonosemantic etc.) configurations and presenting them in a diagram format.
   
3. 
   A case study: Virginia Woolf's "A Haunted House".
   
4. 
   A case study: Virginia Woolf's "Monday or Tuesday".
   

1. 
   Main:
   

Воробьёва О.П. Вирджиния Вульф в аспекте языковой личности: когнитивный этюд // Языки и транснациональные проблемы/ Мат-лы І Междунар. науч. 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.

Freeman M. Poetry and the scope of metaphor: Toward a cognitive theory of literature // Metaphor and Metonymy at a Crossroads: A Cognitive Perspective/ Ed. by A. Barcelona. –––– Berlin; New York: Mouton de Gruyter, 2000. –––– P. 253-281.

Kövecses Z. Metaphors and blends // Kövecses Z. Metaphor: A Practical Introduction. ––– Oxford etc.: Oxford University Press, 2002. –––– P. 227-238.

2. 
   Additional:
   

Turner M. The Literary Mind. ––– N.Y.; Oxford: Oxford University Press, 1996.

3. 
   Material for analysis:
   

Woolf V. Monday or Tuesday // Woolf V. The Haunted House and Other Short Stories. ––– San Diego etc.: A Harvest Book, Harcourt, 1976. –––– P.6-7.

1. 
   Possible worlds and the semantics of fiction: Origins of the PW theory. The actual world vs. possible worlds in Lewis's and Rescher's perspectives. The actual world as a potentially maximal encyclopedia, as a cultural construct in Eco's interpretation. PW in fiction as alternative imaginary states of affairs (temporally ordered successions of states made up of individuals endowed with properties, based on individuation, & ruled by certain laws that may lead to contradictions) presented through a series of linguistic descriptions as having an ontology of their own. The notion of accessibility in PW semantics; accessibility & compossibility conditions. Possible worlds vs. impossible worlds. Fictional worlds as ontologically complete (furnished, nonempty) entities. The principle of minimal departure. The status of gaps in literary semantics. The principle of recenteration. The principle of authentication.
   
2. 
   Typology of possible worlds in literary text: Fictional worlds, narrative worlds, text worlds as incomplete, semantically inhomogeneous, handicapped parasitical small worlds. Textual actual world (as a cultural construct) vs. possible subworlds of various modalities. Mutual accessibility btwn different worlds in fiction: compatible (conceivable) vs. incompatible worlds. Worlds of knowledge (epistemic), worlds of belief (doxastic), worlds of obligation (deontic), worlds of desires (axiological), worlds of intention (alethic), fantasy worlds. Possible (impossible), credible (incredible), verisimilar (nonverisimilar), and conceivable (inconceivable) worlds. Impossible possible worlds build up the conditions of its inconceivability, rendering a feeling of imbalance (e.g., texts with inner contradictions; self-voiding texts that make the narrative strategy more or less evident to the critical reader; self-disclosing metafiction speaks of its own inability to describe impossibilia, shows how impossible worlds are impossible). Conflicts within the narrative universe. Dual (layered) ontology of the TAW as systems of embedded doxastic worlds.
   
3. 
   PW in postmodern fiction: Strategies of playing with PW in postmodern fiction: (1) creating plural actual worlds, or blurring the distinction btwn actuality and possibility; (2) thematisation on the PW origins; (3) exploiting transworld migrations; (4) construing the worlds of postmodern rewrites; (5) creating radically impossible worlds; (6) using the embedding worlds (fictions within fictions); (7) playing with world boundaries (strange loops); (8) creating hybrid worlds based on the subversion of the hierarchy of accessibility relations; (9) construing the scenarios of counterfactual history; (10) creating multi-stranded or parallel plots that play simultaneously in separate ontological domains.
   
4. 
   A case study of PW in postmodern short-shorts: R.Coover's A Sudden Story (anomalous worlds → semantic/ structural tension → multiple sense/senses), R.Edson's Dinner Time (abnormal worlds → semantic / structural hypertension → nonsense), R.Carlson's Reading the Paper (abnormal worlds → semantic / structural hypotension → nonsense).
   

1. 
   Main:
   

Eco U. Small worlds // Eco U. The Limits of Interpretation. ––– Bloomington & Indianapolis: Indiana University Press, 1990. ––– P. 64-79.

2. 
   Additional:
   

Ryan M.-L. Possible Worlds, Artificial Intelligence, and Narrative Theory. –– Bloomington: Indiana University Press, 1991.

Coover R. A sudden story // Sudden Fiction: American Short-Short Stories / Ed. by R.Shapard & J.Thomas. ––– Salt Lake City: Peregrine Smith Books, 1986. ––– P. vii.

Edson R. Dinner time // Sudden Fiction: American Short-Short Stories / Ed. by R.Shapard & J.Thomas. ––– Salt Lake City: Peregrine Smith Books, 1986. ––– P. 115-116.

Carlson R. Reading the paper // Sudden Fiction: American Short-Short Stories / Ed. by R.Shapard & J.Thomas. ––– Salt Lake City: Peregrine Smith Books, 1986. ––– P.167.

1. 
   Literary text from a linguistic perspective: evolution of approaches. Literary text in the cognitive paradigm.
   
2. 
   Textuality of literary discourse: Text categories vs. textuality standards. Types of text categories.
   
3. 
   Text model in literary communication. Principles of modeling. Facets and layers of literary text. Organizing principles of text formation. Linguistic and narrative manifestations of text categories.
   
4. 
   Hermeneutics, interpretation and stylistic analysis.
   
5. 
   Trends and methods of literary text interpretation.
   
6. 
   Semiotic interpretation of literary text: Main schools and personalia.
   
7. 
   Cognitive poetics: Realm of research, schools and personalia.
   
8. 
   Cognitive poetics: Theoretical assumptions and methodology.
   
9. 
   Conceptual metaphor in literary discourse. Basic metaphors and their transformations.
   
10. 
    Conceptual integration in literary discourse: Conceptual integration networks. Cognitive operations in the blend formation.
    
11. 
    Techniques of conceptual analysis.
    
12. 
    Possible worlds in literary discourse.