Transparent Minds

Cohn, Dorrit

doi:10.1515/9780691213125

Cited by 563 publications

(18 citation statements)

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“…FID is usually discussed as a phenomenon occurring mainly in third-person narratives and this is also observed in empirical studies on the processing of FID which use third-person stories in their experimental setting or, at least, items where the speaker is not explicitly referred to (see Bortolussi and Dixon, 2003;Bray, 2007;Kaiser, 2015;Salem, Weskott, and Holler, 2017;Salem, Weskott, and Holler, 2018;and Sotirova, 2006). However, FID can also occur in first-person stories, when the character-narrator narrates personal experiences and her corresponding thoughts and reflections as these occurred in some past moment (for more discussion, see Cohn and Cohn, 1978;Fludernik, 2003;Nielsen, 2004;and Stanzel, 1986). See example (11) for an illustration: 6 Kaiser (2015) conducted a near-replication of Harris and Potts' (2009) experiment in order to investigate the extent to which sentences with epithets could receive non-speaker-oriented interpretations.…”

Section: It Smelled Disgustingmentioning

confidence: 71%

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Who Perceives? Who Thinks? Anchoring Free Reports of Perception and Thought in Narratives

Bimpikou

2020

Open Library of Humanities

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Section: It Smelled Disgustingmentioning

confidence: 71%

“…In literary studies, perception representations have been studied under different terms as well, such as 'narrated perception'(Cohn and Cohn, 1978;Fludernik, 2003).…”

mentioning

confidence: 99%

Who Perceives? Who Thinks? Anchoring Free Reports of Perception and Thought in Narratives

Bimpikou

2020

Open Library of Humanities

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“…We emphasize the much overlooked "vice versa", and claim that literature and literary devices are crucial to finding, testing and distributing ways of expressing cultural and social subject matter. For example, the study of fictional minds has shown both the distinctive ability of fiction to portray the mind of another person, and the kinship of minds working both inside and outside of fiction in sense making operations (Cohn 1978;Palmer 2004). This allows the reader to situate herself in the storyworld and adopt the temporal and spatial situation in the fictional reality (Herman 2002: 14-15).…”

Section: Sameness and Difference In Narrative Studiesmentioning

confidence: 99%

“…Narratological tools that analyze discursive agency and positioning are needed, as societal discussion and social interaction is based on constructing hypothetical narratives about other persons' reasons and intentions (Hutto 2008). In literary studies representing and attributing minds in fiction has been a core question since the study of the novel began (see Lubbock 1921;Cohn 1978). Today it is recognized that changing and evolving models of fictional minds correlate with the growing cultural complexity of the human mind in general (Herman 2011).…”

Section: Sameness and Difference In Narrative Studiesmentioning

confidence: 99%

Sameness and difference in narrative modes and narrative sense making: The case of Ramsey Campbell’s “The Scar”

Hatavara

Toikkanen

2019

Frontiers of Narrative Studies

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The article discusses basic questions of narrative studies and definitions of narrative from a historical and conceptual perspective in order to map the terrain between different narratologies. The focus is placed on the question of how fiction interacts with other realms of our lives or, more specifically, how reading fiction both involves and affects our everyday meaning making operations. British horror writer Ramsey Campbell’s (b. 1946) short story “The Scar” (1967) will be used as a test case to show how both narrative modes of representation and the reader’s narrative sense making operations may travel between art and the everyday, from fiction to life and back. We argue that the cognitively inspired narrative studies need to pair up with linguistically oriented narratology to gain the necessary semiotic sensitivity to the forms and modes of narrative sense making. Narratology, in turn, needs to explore in detail what it is in the narrative form that enables it to function as a tool for reaching out and making sense of the unfamiliar. In our view, reading fictional narratives such as “The Scar” can help in learning and adopting linguistic resources and story patterns from fiction to our everyday sense making efforts.

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“…Such is the case in narratives where the referential system of each utterance is the result of a more or less complex association of points of view. This has been discussed in narratological studies (Booth, 1961;Chatman, 1978;Cohn, 1978;Rimmon-Kenan 2002;among others) where a text is typically described as resulting from a multiplicity of points of view that can be reconstructed through the identification of the sources of narration and focalization.…”

Section: The Notion Of Speaker's Commitment In Narrative Contextsmentioning

confidence: 99%

Locative Inversion In Discourse: a strategy of non-commitment

Copy¹,

Gournay²

2009

discours

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In this paper, Locative Inversion (hence LI) is analysed as the linear realization of a predication devoid of speaker’s commitment. First, we show that the syntactic constraints and modal restrictions already debated in the linguistic literature, form a coherent set of properties and are evidence of a non-speaker-based predication. Some examples of these properties are: LI’s incompatibility with negation or epistemic modalization, strong aspectual and temporal restrictions such as its incompatibility with BE+ING or generic interpretations.In the second part of this paper, we provide a discursive analyse of LI in two actual literary contexts: i) first, when it occurs at the beginning of folktales; there, its predicative use is compared to there-sentences, the latter, we argue, being typically speaker-based predications; ii) then, when it occurs in narrative’s descriptions (for instance in crime-scene description); there, LI appears in a context of internal focalization, with the make-belief effect of referring directly to the situation described as if it was perceptible by everyone.In both cases, it appears that LI occurs in contexts where the speaker is pragmatically determined. Its use depends on the need to resort to a "universal" commitment for the predication.
Dans cet article, l'inversion locative (IL) en anglais est étudiée en tant que réalisation syntaxique d'une prédication dénuée de toute prise en charge identifiée à un sujet-parlant. Dans une première partie, on s'attache à montrer que les contraintes syntaxiques et les restrictions modales, connues dans la littérature et qui caractérisent la forme, signalent que l'inversion locative est la trace d’une prédication objectivée. Les contraintes observées sont par exemple l’incompatibilité avec les formes de remise en cause de l’assertion (négation ou modalisation épistémique), les fortes restrictions des déterminations aspectuelles (notamment BE+ING), incompatibilité avec l'interprétation générique et hors situation etc. Dans une deuxième partie, la prédication objectivée marquée par l'IL est mise en relation avec son utilisation en discours dans deux contextes: i) les débuts de contes où son fonctionnement discursif et énonciatif est comparé à celui des constructions en there qui renvoient à une prise en charge par un énonciateur particulier; ii) les passages descriptifs, dont ceux des "crime scenes", où les occurrences d’IL apparaissent typiquement alors que la narration bascule d'un mode de focalisation interne à la représentation immédiate de la situation de référence dans le discours. Dans les deux cas, on voit que la prédication objectivée intervient quand l’énonciateur est identifié pragmatiquement, et qu’il y a de fortes motivations pour que la prise en charge prédicative soit rendue trans-individuelle

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Transparent Minds

Cited by 563 publications

References 0 publications

Who Perceives? Who Thinks? Anchoring Free Reports of Perception and Thought in Narratives

Who Perceives? Who Thinks? Anchoring Free Reports of Perception and Thought in Narratives

Sameness and difference in narrative modes and narrative sense making: The case of Ramsey Campbell’s “The Scar”

Locative Inversion In Discourse: a strategy of non-commitment

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