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The book analyses a selection of British comedy productions (e.g. The Office, Extras, Carry On, etc.) by means of conceptual integration theory, aka blending, as proposed by Gilles Fauconnier and Mark Turner. It shows that blending can successfully explain the origin of humour and thus it can be labelled as a potential linguistic theory of humour.
The best survey of cognitive linguistics available, this Handbook provides a thorough explanation of its rich methodology, key results, and interdisciplinary context. With in-depth coverage of the research questions, basic concepts, and various theoretical approaches, the Handbook addresses newly emerging subfields and shows their contribution to the discipline. The Handbook introduces fields of study that have become central to cognitive linguistics, such as conceptual mappings and construction grammar. It explains all the main areas of linguistic analysis traditionally expected in a full linguistics framework, and includes fields of study such as language acquisition, sociolinguistics, diachronic studies, and corpus linguistics. Setting linguistic facts within the context of many other disciplines, the Handbook will be welcomed by researchers and students in a broad range of disciplines, including linguistics, cognitive science, neuroscience, gesture studies, computational linguistics, and multimodal studies.
To what extent can Cognitive Linguistics benefit from the systematic study of a creative phenomenon like humor? Although the authors in this volume approach this question from different perspectives, they share the profound belief that humorous data may provide a unique insight into the complex interplay of quantitative and qualitative aspects of meaning construction.
This book shows how Shakespeare’s excellence as storyteller, wit and poet reflects the creative process of conceptual blending. Cognitive theory provides a wealth of new ideas that illuminate Shakespeare, even as he illuminates them, and the theory of blending, or conceptual integration, strikingly corroborates and amplifies both classic and current insights of literary criticism. This study explores how Shakespeare crafted his plots by fusing diverse story elements and compressing incidents to strengthen dramatic illusion; considers Shakespeare’s wit as involving sudden incongruities and a reckoning among differing points of view; interrogates how blending generates the “strange meaning” that distinguishes poetic expression; and situates the project in relation to other cognitive literary criticism. This book is of particular significance to scholars and students of Shakespeare and cognitive theory, as well as readers curious about how the mind works.
This book attempts to discuss selected but thorny issues of humor research that form the major stumbling blocks as well as challenges in humor studies at large and thus merit insightful discussion. Any discourse is action, so the text-creation process is always set in a non-verbal context, built of a social and communicative situation, and against the background of relevant culture. On the other hand, humor scholars claim that humorous discourse has its special, essential features that distinguish it from other discourses. The pragmatic solution to the issue of potential circularity of humor defined in terms of discourse and discourse in terms of humor seems only feasible, and thus there is a need to discuss the structure and mechanisms of humorous texts and humorous performances. The chapters in the present volume, contributed by leading scholars in the field of humor studies, address the issues from various theoretical perspectives, from contextual semantics through General Theory of Verbal Humor, cognitive linguistics, discourse studies, sociolinguistics, to Ontological Semantic Theory of Humor, providing an excellent overview of the field to novices and experts alike.
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Linguistics, grade: 1,3, University of Hamburg (Institut für Anglistik und Amerikanistik), course: Highlights in Cognitive Linguistics, language: English, abstract: The emerging ability for blending different mental spaces, so argue Fauconnier and Turner (2002: V), allowed humans to gain the upper hand over competing species from the Upper Paleolithic onwards, since this ability gave them the imagination required to invent new concepts, tools and means of communication (among them language). On the basis of this discovery and the initially developed Mental Space theory, Fauconnier and Turner advanced a striking theory called the Conceptual Blending theory. [...] Therefore, in this term paper I focus entirely on jokes, which I attempt to interpret by means of the Blending theory. To investigate cognitive processes involved in joke comprehension, I have interviewed four English native speakers with the intention of finding whether all of them are able to explain why the joke is funny and which incompatible elements are responsible for its humorous effect. Taking into account the participants' answers I have tried to define the input spaces (by naming their constituents) and the blended space. Additionally, the participants' answers were evaluated with regard to the role of background knowledge, which is necessary in order to comprehend the joke. Finally, I examined whether the Conceptual Blending theory might be applicable for the analysis of joke processing and comprehension in general and what difficulties can arise during the creation of the input spaces and the blend. Thus, in the following sections I will first introduce important information on conceptual blending and then analyze selected jokes according to the Conceptual Blending theory, taking into consideration the interviewees' explanations of the jokes. Central to Conceptual Blending theory is the notion of the conceptual blending network (or conceptual integration network), an array of mental spaces in which the processes of blending unfold (Fauconnier and Turner, 1998b). A basic conceptual integration network contains four mental spaces: two input spaces, a generic space and a blended space (see Figure 1). Input spaces are on-line conceptual representations constructed under the influence of the incoming information but tapping stored cognitive models. [...]
Semantic Leaps explores how people combine knowledge from different domains in order to understand and express new ideas. Concentrating on dynamic aspects of on-line meaning construction, Coulson identifies two related sets of processes: frame-shifting and conceptual blending. By addressing linguistic phenomena often ignored in traditional meaning research, Coulson explains how processes of cross-domain mapping, frame-shifting, and conceptual blending enhance the explanatory adequacy of traditional frame-based systems for natural language processing. The focus is on how the constructive processes speakers use to assemble, link, and adapt simple cognitive models underlie a broad range of productive language behavior.
This is the first volume in a series of three books called Within Language, Beyond Theories, which focuses on current linguistic research surpassing the limits of contemporary theoretical frameworks in order to gain new insights into the structure of the language system and to offer more explanatorily adequate accounts of linguistic phenomena from a number of the world's languages. This volume brings together twenty-five papers pertaining to theoretical linguistics, and consists of three par ...
Working towards a multifaceted debate on humor and related phenomena, this book is a comprehensive reflection of the contributors’ shared interest in various dimensions of humor and its manifold applications. It is composed of a selection of writings that provide important insights into language used for humorous purposes. Theoretical discussions are complemented by an assortment of case studies in linguistics, culture, literature, and translation, as well as in visual and media studies.
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Linguistics, grade: 1,3, University of Hamburg (Institut für Anglistik und Amerikanistik), course: Highlights in Cognitive Linguistics, language: English, abstract: The emerging ability for blending different mental spaces, so argue Fauconnier and Turner (2002: V), allowed humans to gain the upper hand over competing species from the Upper Paleolithic onwards, since this ability gave them the imagination required to invent new concepts, tools and means of communication (among them language). On the basis of this discovery and the initially developed Mental Space theory, Fauconnier and Turner advanced a striking theory called the Conceptual Blending theory. [...] Therefore, in this term paper I focus entirely on jokes, which I attempt to interpret by means of the Blending theory. To investigate cognitive processes involved in joke comprehension, I have interviewed four English native speakers with the intention of finding whether all of them are able to explain why the joke is funny and which incompatible elements are responsible for its humorous effect. Taking into account the participants' answers I have tried to define the input spaces (by naming their constituents) and the blended space. Additionally, the participants' answers were evaluated with regard to the role of background knowledge, which is necessary in order to comprehend the joke. Finally, I examined whether the Conceptual Blending theory might be applicable for the analysis of joke processing and comprehension in general and what difficulties can arise during the creation of the input spaces and the blend. Thus, in the following sections I will first introduce important information on conceptual blending and then analyze selected jokes according to the Conceptual Blending theory, taking into consideration the interviewees' explanations of the jokes. Central to Conceptual Blending theory is the notion of the conce