In:Cognitive Grammar in Contemporary Fiction
Chloe Harrison
[Linguistic Approaches to Literature 26] 2017
► pp. v–viii
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Published online: 24 May 2017
https://doi.org/10.1075/lal.26.toc
https://doi.org/10.1075/lal.26.toc
Table of contents
Acknowledgments
ix
Chapter 1.Introduction
1
1.1Cognitive Grammar in fiction
1
1.2Methods and texts
2
1.2.1Text choice: Contemporary and postmodern fiction
2
1.2.2Postmodern texts: A stylistic profile
3
1.2.3Online reader reviews
5
1.3Cognitive linguistics in stylistics
7
1.4Structure of book
8
Chapter 2.Cognitive Grammar: An overview
11
2.1Grammar as meaning
11
2.1.1Grammar as construction
12
2.2CG: Some central concepts
13
2.2.1Trajector and landmark
13
2.2.2Image schemas
14
2.2.3Construal
14
2.2.4Grounding construal relationships
16
2.2.5The compositional path
17
2.2.6Action chains
18
2.2.7Reference points and scanning
20
2.2.8The current discourse space
22
2.2.9Fictive simulation
23
2.3CG as a discourse framework
24
2.3.1Defining discourse
24
2.3.2Scalability
25
2.4CG and other cognitive models
27
2.4.1Text World Theory
27
2.4.2Schema theory
29
2.4.3Deictic shift theory
29
2.4.4Mind-modelling
30
2.5Review
30
Chapter 3.Action chains and grounding in Enduring Love
31
3.1Introduction
31
3.1.1Action, energy, process
31
3.2Enduring Love
32
3.3Grounding perspective
33
3.4Narrative urgency and ‘the generation of multiplicity’
35
3.5Action chains and clausal grounding
38
3.5.1Modality and metaphor
41
3.6Nominal grounding: Schematicity vs. specificity
43
3.7Conclusion: ‘What were we running toward?’
46
3.8Review
47
Chapter 4.The reference point model: Tracking character roles in The New York Trilogy
49
4.1Introduction
49
4.1.1Reference points in fiction
49
4.2
The New York Trilogy and the postmodern quest
51
4.2.1Layers and targets
52
4.3Reader response: Tracking character roles
54
4.4(R)evoking targets
60
4.5Conclusion: ‘The story is not in the words; it’s in the struggle’
66
4.6Review
68
Chapter 5.Interrelated references and fictional world elaboration in Coraline
71
5.1Introduction
71
5.2Construal: Production and reception
72
5.2.1Construction schemas
73
5.3Elaboration and world comparison: The ‘other world’ of Coraline
74
5.3.1Elaborative relationships
75
5.4Reading Coraline
79
5.5Resistance and identification
80
5.5.1Reader response: Character
80
5.5.2Reader response: Fictional world
84
5.6Conclusion: ‘It was so familiar – that was what made it feel so truly strange’
88
5.7Review
89
Chapter 6.Mind-modelling perspective in ‘Great Rock and Roll Pauses’
91
6.1Introduction: Visual attention in cognitive linguistics and CG
91
6.2‘Great Rock and Roll Pauses’
92
6.2.1Mind-modelling perspective
93
6.3CG and multimodality
95
6.4Event frames
100
6.5Multimodal perspective in ‘Great Rock and Roll Pauses’
102
6.5.1Attentional windowing
102
6.5.2Speech presentation
104
6.5.3Viewing arrangements and conceptual distancing
106
6.6Conclusion: ‘Music first, and then the pause’
109
6.7Review
111
Chapter 7.Scanning the compositional path of ‘Here We Aren’t, So Quickly’
113
7.1Introduction
113
7.1.1Scanning paths
113
7.2‘Here We Aren’t, So Quickly’
114
7.3Analysability (‘I counted the seconds backward’)
118
7.4Components (‘Not wilfully unclear, just trying to say it as it wasn’t’)
121
7.5Composition (‘Everything else happened – why not the things that could have?’)
125
7.6Conclusion: ‘We reached the middle so quickly’
128
7.7Review
129
Chapter 8.Conclusion
131
8.1A cognitive discourse grammar
131
8.2Suitability for stylistics: Scalability and rigour
133
8.3Limitations
135
References
137
Appendix
151
Index
163
