By Peter Stockwell
Texture represents the most recent increase in cognitive poetics. This publication builds feeling and embodied adventure directly to the insights into meaningfulness which the cognitive method of literature has completed lately. Taking key known techniques similar to characterisation, tone, empathy, and identity, the ebook goals to explain the usual adventure of literary analyzing in an intensive and principled means. Accessibly and informatively written, Texture attracts on stylistics, psycholinguistics, serious thought and neurology to discover the character of studying verbal paintings. the purpose is a brand new cognitive aesthetics of literature for its educational, pupil, specialist and ordinary readers.
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Additional resources for Texture: A Cognitive Aesthetics of Reading
Physical presence is reinforced by ‘breathe’ and ‘eyes [that] can see’; a strong empathy feature is asserted by the concrete ‘men’, and volume as length is again deployed (‘So long’) and maintained by repetition. The agency of the ﬁnal clause, with ‘this’ sonnet in active subject position and ‘thee’ in recipient position, sums up the relative attentional status of the foregrounded text and the now secondary addressee. The richly textured summer, and life by extension, and the object of love are both encompassed by an even richer and intense sense of the force and immutability of writing.
Altogether, the scale brieﬂy sketched out above represents a cline of resonance, with striking literary intensity at one end, and decay or echo tailing oﬀ into a rich sense of textual resonance towards the other. Note that, for any practical analysis such as those that follow in this chapter, the attention-resonance model will require the exploration both of linguistic features in the text as well as readerly disposition. The degree of resonance in any given literary reading is not simply a matter of the stylistic power of the text but is also a matter of the reader’s intensity of alertness, degree of resistance, or willingness to invest themselves emotionally in the experience.
Is never shaken’, ‘every bark’s [boat’s] height be taken [measured to ascertain its value in the water]’, ‘rosy lips and cheeks . . come within the compass of the sickle’. The most active words are associated with other elements ‒ ‘alteration’, ‘remove’, ‘tempests’, ‘shaken’, ‘wand’ring’ ‒ and yet love still sustains its focus of attention. This is achieved mainly syntactically. The relational and existential verbs with ‘love’ as subject tend to be in main clause position. All of the active verbs and potentially occluding ﬁgures are relegated to subordinate clauses.
Texture: A Cognitive Aesthetics of Reading by Peter Stockwell