Verbal Art: A Philosophy of Literature and Literary by Anders Pettersson

By Anders Pettersson

Pettersson demonstrates the results and functions of the idea via a chain of precise experiences of literary works, taking care to teach that his conception is appropriate with a large number of views. Combining an intimate wisdom of contemporary literary idea and the aesthetics of literature with leading edge functions of linguistics and cognitive psychology to the literary paintings, he presents a radical remedy of primary difficulties within the quarter, together with the concept that of a textual content or paintings, the concept that of shape, and the individuality of the literary use of language.

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I shall therefore content myself with offering a very crude and simple description of how we process perceptions. 5 Figure 1 illustrates that the brain (which I will regard here as a black box) receives, interprets, and combines signals triggered by outside sources and by the organism itself. The brain also evaluates the information thus put together, and uses it as a basis when governing the organism’s behaviour. The brain can, for example, via efferent nervepaths, give impulses to muscular movements, and thereby make the organism move in a way that is adequate given the organism’s needs and the brain’s picture of the environment.

Perceptions or imaginings may in their turn possess different more specific modes, as the example makes clear. As I have already said, an experience is made up not only of intentional states, but also of sensations. In fact, sensations play a role even in aspects of the global experience that overtly have to do solely with the outside world, such as visual experiences. Let us imagine that you look around the room. It may appear natural to believe that one could give a full account of the content of your visual experience by describing exactly what objects you perceive in the room, exactly what properties you construe them as possessing, and exactly what spatial relations between them you apprehend.

What he liked about his first wife was her gift of mimicry; after a party, theirs or another couple’s, she would vivify for him what they had seen, the faces, the voices, twisting her pretty mouth into small contortions that brought back, for a dazzling instant, the presence of an absent acquaintance. “Well, if I reawy – how does Gwen talk? – if I re-awwy cared about conserwation –” And he, the husband, would laugh and laugh, even though Gwen was secretly his mistress and would become his second wife.

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