دانلود کتاب Playing by ear and the tip of the tongue: precategorial information in poetry

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Playing by Ear and the Tip of the Tongue
Editorial page
Title page
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Table of contents
Preface
Introduction
1.1 Precategorial information and critical communication
1.2 “Speech mode”, “Nonspeech mode”, “Poetic mode”
1.3 Thing destruction and thing-free qualities
1.4 “The Roses of her Cheeks”
1.5 Perceptual boundaries and fusion
1.6 “Precategorial” – predecessors and successors
1.7 Guide through this book
The poetic mode of speech perception revisited
2.1 Stating the problem
2.2 Some experimental evidence
2.3 Speech mode, nonspeech mode and poetic mode
2.4 Colour and overtone interaction
2.5 Individual differences
2.6 Summary and conclusions
The tot phenomenon
3.1 The tot phenomenon
3.2 Referentiality, serial position, and the “God-gifted organ-voice of England”
3.3 Summary and conclusions
“Oceanic” dedifferentiation and poetic metaphor
4.1 Rapid vs. delayed conceptualization
4.2 Poetic metaphors
4.3 Oceanic Imagery in Faust
4.4 Conclusions
Deixis and abstractions
5.1 Sequential and spatial processing
5.2 Time in poetry
5.3 More on the abstract of the concrete
5.4 “Total Complexes” and “Just Noticeable Differences”
5.5 Feeling and knowing
5.6 Conclusion
Chapter 6. Three case studies – keats, spenser, baudelaire
6.1 Poetry and Altered States of Consciousness
6.2 “On See­ing the Elgin Marbles”
6.3 Alternative Men­tal Performances
6.4 Symbol and Allegory
6.5 Keats and Marlowe
6.6 Ambiguity and Soft Focus
6.7 Chearlesse Night in Spenser and Baudelaire
6.8 To Sum Up
Linguistic devices and ecstatic poetry
7.1 Ecstatic quality, linguistic devices, and cognitive processes
7.2 Vocal performance and lingering precategorial auditory information
Defamiliarization Revisited
Aesthetic qualities as structural resemblance
9.1 Emotional qualities and onomatopoeia
9.2 Convergent and divergent style
9.3 Perceptual forces (large scale)
9.4 Perceptual forces (minute scale)
9.5 Materials and structures
Appendix
Observations on Larsen’s criticism of the click experiment
Metaphor and figure – ground relationship
10.1 Basic gestalt rules of figure – ground
10.2 Figure and ground in the visual arts
10.3 Form in other senses
10.4 Figures in narrative
10.5 Figure and ground (?) in poetry: Emily Dickinson
10.6 Figure and ground (?) in Shakespeare
10.7 Figure–ground reversal in music: “Moonlight” Sonata
10.8 Literature: Figure–ground reversals of the extralinguistic
10.9 Summary and wider perspectives
Size–sound symbolism revisited
11.1 Preliminary
11.2 Phlogiston and precategorial information
11.3 Sound symbolism and source’s size
11.3.1 Sound symbolism and referent’s size
11.4 Descriptive reduplication in Japanese
11.5 Methodological comments
Issues in literary synaesthesia
12.1 Synaesthesia as a neuropsychological and a literary phenomenon
12.2 Four kinds of explanation
12.3 Panchronistic tendencies in synaesthesia
12.4 Aesthetic qualities: Witty and emotional
12.5 Overriding downward transfers
12.6 Synaesthesia and ecstatic quality: Two French sonnets
12.6.1 To sum up
The place of nonconceptual information in university education
13.1 Logic of What?
13.2 Rapid and Delayed Categorization
13.3 Sensuous Metaphors and the Grotesque
13.4 Summary and Conclusions
Points and counterpoints
14.1 Persinger’s findings and poetry criticism
14.2 “Dover Beach” – two cognitive readings
14.3 Speculative vs. empirical
14.4 “The Sound of Meaning”
14.5 Coding strategy and storage time
14.6 On interpretation
14.7 On major/ minor keys
14.8 The split brain and poetic qualities
14.9 To conclude
References
Index