By Karin Kukkonen
"Bringing neoclassicism again into modern-day severe debates, this examine considers the cognitive underpinnings of the foundations of poetic justice, the unities and decorum, underlines their relevance for modern-day cognitive poetics and lines their impact within the rising narrative kind of the eighteenth-century novel"--
summary: "Bringing neoclassicism again into state-of-the-art serious debates, this examine considers the cognitive underpinnings of the foundations of poetic justice, the unities and decorum, underlines their relevance for brand new cognitive poetics and strains their effect within the rising narrative type of the eighteenth-century novel"
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Extra resources for A prehistory of cognitive poetics : neoclassicism and the novel
It is a set of moves which takes advantage of the logic of the situation, and it is conceivable that there is more than one such successful solution in any given situation. If we transfer Popper’s example to neoclassical poetics, then the rules correspond to instructions for making such a path across the situation. The rules are successful because they chart these paths with elegant simplicity, playing the logic of situations. The situation of the literary work of art is more complex than crossing the road, but Popper’s example offers a helpful simile.
Still, they are not necessarily at odds with one another. Indeed, I suggest that it is possible to combine cognitive approaches for the purposes of studying literature by inscribing them within the conceptual frame of the neoclassical rules. Consider this a thought experiment in the prehistory of cognitive poetics that brings to the fore a new way of thinking about literature and cognition in its historical contexts. The guiding question is this: How would a neoclassical critic use the research from the cognitive sciences, psychology, and philosophy that informs cognitive approaches to literature today?
Consider an example of the logic of situations that Popper gives in his essay “Models, Instruments and Truth”: One of my standard examples is a pedestrian, let us call him Richard, who wants to catch a train and is in a hurry to cross a road crowded with moving and parked motor cars and other traffic. Let us assume that what we wish to explain are Richard’s somewhat erratic movements in making his way across the road. ] if we wish to explain Richard’s movements, then we have to do more than locate the various physical and social obstacles in physical and social space.