Teoría cognitiva y construcción textual del poemapatrones rítmicos y representación semántica
-
1
Universidad Complutense de Madrid
info
- López-Varela Azcárate, Asunción (coord.)
- Martínez Falero, Luis (col.)
- Santaella Braga, Lucia (col.)
ISSN: 1578-4223
Datum der Publikation: 2021
Titel der Ausgabe: Semioticas cognitivas. Nuevos paradigmas = Cognitive semiotics. New paradigms
Nummer: 35
Seiten: 149-161
Art: Artikel
Andere Publikationen in: DeSignis: Publicación de la Federación Latinoamericana de Semiótica ( FELS )
Zusammenfassung
This work aims to raise and exemplify the relationships between image and statement - on the one hand and between rhythm and meaning, on the other. To do this, I use a semiotic method, assuming aspects related to the creation and reception of the poetic text. The methodological proposal is transdisciplinary, since, among other theoretical-critical proposals, I assume elements taken from cognitive science (anthropology or linguistics), generative poetics, formal-structuralist formulations, and other disciplines. The aim is to provide this study with an obvious scientific basis in order to reach justified and credible conclusions.
Bibliographische Referenzen
- ANDREU, B. (1980 [1986]) De una niña de provincias que se vino a vivir en un Chagall. Madrid: Hiperión.
- ARYANI, A., HSU, CH.-T., JACOBS, A. M. (2018) “The Sound of Words Evokes Affective Brain Responses”, Brain Sciences 8 (94), 1-10.
- BACHELARD, G. (1988 [1992]) Fragmentos de una poética del fuego. Buenos Aires: Paidós.
- BEGEMANN, P. (1994) “Readers’ Strategies in Comprehending Poetic Discourse”. En Petöfi, J. S. y Olivi, T. (ed.) Approaches to Poetry. Some Aspects of Textuality, Intertextuality and Intermediality, 1-31. Berlin-New York: Walter de Gruyter.
- BRIK, O. (1927 [2004]) “Ritmo y sintaxis”. En Todorov, T. (comp.) Teoría de la literatura de los formalistas rusos, 107-114. Buenos Aires: Siglo XXI.
- CRESPO MATELLÁN, S. (1984) “Lingüística generativa y poética”, Estudios Filológicos 7, 95-115.
- DAMASIO, A. (2010) Self Comes to Mind. Constructing the Conscious Brain. New York: Pantheon Books.
- ECO, U. (1990 [1992]) Los límites de la interpretación. Barcelona: Lumen.
- DEVINE, A. M., STEPHENS, L. D. (1975) “The abstractness of metrical patterns: Generative metrics and explicit traditional metrics”, Poetics 4 (4), 411-430.
- GIGERENZER, G. (2007) Good Feelings. The Inteligence of Unconscious. New York: Viking.
- GRIDINA, T.A., USTINOVA, T.V. (2016) “The poetic linguistic non-standardness and meaning construction: Semantic aspects of the associative theory of linguistic creativity”, Russian Linguistic Bulletin 2 (6), 93-96.
- HRUSHOVSKI, B. (1980) “The Meaning of Sound Patterns in Poetry: An Interaction Theory”, Poetics Today 2 (1), 39-56.
- JAKOBSON, R. (1970 [1971]) “Structures linguistiques subliminales en poésie”, Poétique 7 (3), 324-333.
- KOTZ, S. A., RAVIGNANI, A.. FITCH, W. T. (2018) “The Evolution of Rhythm Processing”. Trends in Cognitive Sciences 22 (10), 896-910.
- LOTMAN, Y. (1970 [1988]) Estructura del texto artístico. Madrid: Istmo.
- LOTZ, J. (1960) “Metric Typology”. En Sebeok, Th. A. (ed.), Style in Language, 135-148. Cambridge (MA): The MIT Press.
- MARTÍNEZ-FALERO, L. (2020) “Una propuesta sobre la creatividad literaria desde la Teoría de la Literatura y la Neurociencia”, Archivum 70 (1), 147-164.
- PARAÍSO, I. (1985) El verso libre hispánico. Madrid: Gredos.
- RASTIER, F. (1987) Sémantique interprétative. Paris: PUF.
- RUNKO, M. A., JAEGER, G. J. (2012) “The Standard Definition of Creativity”, Creative Research Journal 24 (1), 92-96.
- SPERBER, D. (1974 [1988]) El simbolismo en general. Barcelona: Anthropos.
- STOCKWELL, P. (2017) The Language of Surrealism. Suffolk: Palgrave.
- TATARKIEWICZ, W. (1976 [1997] Historia de seis ideas. Arte, belleza, forma, creatividad, mímesis, experiencia estética. Madrid: Tecnos.
- TOMACHEVSKI, B. (1925 [1982] Teoría de la literatura. Madrid: Akal.
- TSUR, R. (2012) Poetic Rhythm: Structure and Performance. An Empirical Study in Cognitive Poetics. Eastbourne-Portland: Sussex Academic Press.
- TSUR, R. (2017a) Poetic Conventions as Cognitive Fossils. New York: Oxford University Press.
- TSUR, R. (2017b) “Metre, rhythm and emotion in poetry. A cognitive Approach”, Studia Metrica et Poetica 4 (1), 7-40.
- TSUR, R. (2017c) “Elusive Qualities in Poetry, Receptivity, and Neural Correlates”. En Csábi, S. (ed.) Expressive Minds and Artistic Creations, 279-302. New York: Oxford University Press.
- TURNER, M. (2003) “The Cognitive Study of Art, Language and Literature”. Poetics Today 23 (1), 9-20.
- UTRERA TORREMOCHA, M. V. (2010) Estructura y teoría del verso libre. Madrid: CSIC.
- VALENTE, J. Á. (1992) No amanece el cantor. Barcelona: Tusquets.
- VAN DIJK, T.A. (1972a) Some Aspects of Text Grammars. A Study of Theoretical Linguistics and Poetics. The Hague-Paris: Mouton.
- VAN DIJK, T.A. (1972b [1976]) “Aspectos de una teoría generativa del texto poético”. En Greimas, A. J. et alii, Ensayos de semiótica poética, 239-271. Barcelona: Planeta.
- VAN DIJK, T.A. (1980) Macroestructures. An Interdisciplinary Study of Global Structures in Discourse, Interaction and Cognition. Hillsdale (NJ): Lawrence Erlbaum Associates.