Cognitive Grammar in Contemporary Fiction.

Intro -- Cognitive Grammar in Contemporary Fiction -- Editorial page -- Title page -- LCC data -- Table of contents -- Acknowledgements -- Chapter 1. Introduction -- 1.1 Cognitive Grammar in fiction -- 1.2 Methods and texts -- 1.2.1 Text choice: Contemporary and postmodern fiction -- 1.2.2 Postmodern texts: A stylistic profile -- 1.2.3 Online reader reviews -- 1.3 Cognitive linguistics in stylistics -- 1.4 Structure of book -- Chapter 2. Cognitive Grammar: An overview -- 2.1 Grammar as meaning -- 2.1.1 Grammar as construction -- 2.2 CG: Some central concepts -- 2.2.1 Trajector and landmark -- 2.2.2 Image schemas -- 2.2.3 Construal -- 2.2.4 Grounding construal relationships -- 2.2.5 The compositional path -- 2.2.6 Action chains -- 2.2.7 Reference points and scanning -- 2.2.8 The current discourse space -- 2.2.9 Fictive simulation -- 2.3 CG as a discourse framework -- 2.3.1 Defining discourse -- 2.3.2 Scalability -- 2.4 CG and other cognitive models -- 2.4.1 Text World Theory -- 2.4.2 Schema theory -- 2.4.3 Deictic shift theory -- 2.4.4 Mind-modelling -- 2.5 Review -- Chapter 3. Action chains and grounding in Enduring Love -- 3.1 Introduction -- 3.1.1 Action, energy, process -- 3.2 Enduring Love -- 3.3 Grounding perspective -- 3.4 Narrative urgency and 'the generation of multiplicity' -- 3.5 Action chains and clausal grounding -- 3.5.1 Modality and metaphor -- 3.6 Nominal grounding: Schematicity vs. specificity -- 3.7 Conclusion: 'What were we running toward?' -- 3.8 Review -- Chapter 4. The reference point model: Tracking character roles in The New York Trilogy -- 4.1 Introduction -- 4.1.1 Reference points in fiction -- 4.2 The New York Trilogy and the postmodern quest -- 4.2.1 Layers and targets -- 4.3 Reader response: Tracking character roles -- 4.4 (R)evoking targets -- 4.5 Conclusion: 'The story is not in the words -- it's in the struggle'.

4.6 Review -- Chapter 5. Interrelated references and fictional world elaboration in Coraline -- 5.1 Introduction -- 5.2 Construal: Production and reception -- 5.2.1 Construction schemas -- 5.3 Elaboration and world comparison: The 'other world' of Coraline -- 5.3.1 Elaborative relationships -- 5.4 Reading Coraline -- 5.5 Resistance and identification -- 5.5.1 Reader response: Character -- 5.5.2 Reader response: Fictional world -- 5.6 Conclusion: 'It was so familiar - that was what made it feel so truly strange' -- 5.7 Review -- Chapter 6. Mind-modelling perspective in 'Great Rock and Roll Pauses' -- 6.1 Introduction: Visual attention in cognitive linguistics and CG -- 6.2 'Great Rock and Roll Pauses' -- 6.2.1 Mind-modelling perspective -- 6.3 CG and multimodality -- 6.4 Event frames -- 6.5 Multimodal perspective in 'Great Rock and Roll Pauses' -- 6.5.1 Attentional windowing -- 6.5.2 Speech presentation -- 6.5.3 Viewing arrangements and conceptual distancing -- 6.6 Conclusion: 'Music first, and then the pause' -- 6.7 Review -- Chapter 7. Scanning the compositional path of 'Here We Aren't, So Quickly' -- 7.1 Introduction -- 7.1.1 Scanning paths -- 7.2 'Here we aren't, so quickly' -- 7.3 Analysability ('I counted the seconds backward') -- 7.4 Components ('Not wilfully unclear, just trying to say it as it wasn't') -- 7.5 Composition ('Everything else happened - why not the things that could have?') -- 7.6 Conclusion: 'We reached the middle so quickly' -- 7.7 Review -- Chapter 8. Conclusion -- 8.1 A cognitive discourse grammar -- 8.2 Suitability for stylistics: Scalability and rigour -- 8.3 Limitations -- References -- Appendix -- The New York Trilogy reviews -- Coraline reviews -- Index.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.