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The Poem as Icon resolves long-standing questions of poetic function from a cognitive perspective. Margaret Freeman shows how poetry, as one expression of the aesthetic faculty, enables us to iconically access and experience the "being" of reality.
List of contents
- Preface
- Chapter 1 Poetic Cognition
- 1. Iconicity and the Being of Reality
- 2. Toward a Theory of Aesthetic Cognition
- 3. The Sentience of Cognition
- 4. Developing a Multidisciplinary Terminology
- 5. Outline of Chapters
- Chapter 2 Icon
- 1. What Is an Icon?
- 1.1 The semiotic icon
- 1.2 The religious icon
- 1.3 The linguistic icon
- 1.4 The popular icon
- 2. The Slippery Slopes of Meaning
- 2.1 Reification as cognitive economy
- 2.2 The form-content dichotomy
- 3. Iconicity in the Arts
- 4. Iconicity in Literary Criticism
- Chapter 3 Semblance
- 1. Beyond Mimesis
- 2. Manifestation
- 3. The In-visibility of Being
- 4. The Ontology of Poetic Perception as Iconic of Reality
- 4.1 Prosodic structure
- 4.2 Prepositional use
- 4.3 Concealed images
- 4.4 Sound patterning
- Chapter 4 Metaphor
- 1. Metaphor as Actual World Formation
- 2. Metaphor as Possible World Formation
- 3. Metaphor in the Literary Arts
- 4. The Semeosis of Poetic Metaphor
- 5. Metaphoring as Cognitive Processing
- 6. The Hierarchy of Cognitive Metaphoring
- 7. The Ontology of Poetic Metaphor
- 8. The Role of Metaphor in Poetic Iconicity
- Chapter 5 Schema
- 1. Probing Sensate Cognition
- 2. Schema as Correlation Between Self and World
- 3. Schema as Constraint on Experience
- 4. The Role of Schema in Imagination and Language
- 5. Schema as Internalizing Sensate Structure in Poetry
- 6. PATH and VERTICALITY Schemata in Li Bai's Shudaoan
- 7. The Poetic Use of Schema
- 8. Schema as Defining a Poetics
- Chapter 6 Affect
- 1. The Synaesthetics of Affect
- 2. Sonic and Structural Prosodies
- 3. The Import of Affect
- 4. Schema Theory and the Structure of Affects
- 5. The Force Dynamics of Affective Schemata
- 5.1 The level of hearer/reader - poem
- 5.2 The level of physical - force elements
- 5.3 The level of sound - sight
- 5.4 The level of internal sensibility - external stimuli
- 5.5 The level of interior memory - interior emotion
- 6. Emotive - Conceptual Schemata
- Chapter 7 The Poem as Icon
- 1. A Case Study of Two Poems
- 1.1 Prosodic details in Smith's sonnet
- 1.2 Prosodic details in Shelley's sonnet
- 2. The Workings of Poetic Iconicity
- 2.1 The trap of the gap
- 2.2 Closing the gap
- 3. The Poetic Icon
- 3.1 I Seventy Years Later
- 3.2 II The Poem as Icon
- 3.3 III Forms of the Rock in a Night-Hymn
- 4. The Transformative Power of the Icon
- Chapter 8 Aesthetic Cognition
- 1. The Aesthetic Faculty
- 2. Aesthetic Function
- 3. Aesthetic Iconicity in the Arts
- 4. Aesthetic Evaluation
- 5. Iconic Aesthetics in "Dover Beach"
- Afterword
- 1. Poetry in Context
- 2. Eve's Dilemma
- 3. A Theory of Everything?
- 4. Poetry as an Icon of the Being of Reality
- Glossary
- References
- Index
About the author
Margaret H. Freeman is Professor Emerita, Los Angeles Valley College; past president of the Emily Dickinson International Society (1988-1992); co-director of Myrifield Institute for Cognition and the Arts (myrifield.org); and co-editor of the Oxford University Press series Cognition and Poetics. Her research interests include aesthetics, cognitive poetics, linguistics, literature, and philosophy.
Summary
The Poem as Icon resolves long-standing questions of poetic function from a cognitive perspective. Margaret Freeman shows how poetry, as one expression of the aesthetic faculty, enables us to iconically access and experience the "being" of reality.
Additional text
Margaret H. Freeman gives us a fascinating exploration of how poetry "enables us to cognitively access and experience the 'being' of reality all that is and is not, both seen and unseen"
