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“28 Palestinians Die”:A Cognitive Grammar Analysis of Mystification in Press Coverage of State Violence on the Gaza Border.
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Wolfing down the Twilight series: Metaphors for reading in online reviews
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Supplemental_Material – Supplemental material for Transitivity, agency, mind style: What’s the lowest common denominator? ...
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Supplemental_Material – Supplemental material for Transitivity, agency, mind style: What’s the lowest common denominator? ...
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Transitivity, agency, mind style: What’s the lowest common denominator? ...
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Transitivity, agency, mind style: What’s the lowest common denominator? ...
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Cognitive Grammar and reconstrual:Re-experiencing Margaret Atwood's 'The Freeze-Dried Groom'
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Online readers between the camps: a Text World Theory analysis of ethical positioning in We Need to Talk About Kevin
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Attributing minds to vampires in Richard Matheson's I Am Legend
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Attributing minds to vampires in Richard Matheson’s I Am Legend
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Cognitive Grammar in Literature
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Abstract:
This is the first book to present an account of literary meaning and effects drawing on our best understanding of mind and language in the form of a Cognitive Grammar. The contributors provide exemplary analyses of a range of literature from science fiction, dystopia, absurdism and graphic novels to the poetry of Wordsworth, Hopkins, Sassoon, Balassi, and Dylan Thomas, as well as Shakespeare, Chaucer, Barrett Browning, Whitman, Owen and others. The application of Cognitive Grammar allows the discussion of meaning, translation, ambience, action, reflection, multimodality, empathy, experience and literariness itself to be conducted in newly valid ways. With a Foreword by the creator of Cognitive Grammar, Ronald Langacker, and an Afterword by the cognitive scientist Todd Oakley, the book represents the latest advance in literary linguistics, cognitive poetics and literary critical practice.
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URL: https://publications.aston.ac.uk/id/eprint/37071/ https://publications.aston.ac.uk/id/eprint/37071/1/Cognitive_Grammar_in_Literature_Final.pdf
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Conceptual proximity and the experience of war in Siegfried Sassoon’s ‘A working party'
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