Peer F Bundgaard
Dados Biográficos
| ID | 1294544 |
|---|---|
| NOME | Peer F Bundgaard |
| PRENOMES | Peer F |
| SOBRENOME | Bundgaard |
| ASSINATURA | BUNDGAARD P F |
| AFILIAÇÕES | Aarhus University |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 9 |
| TOTAL DE CITAÇÕES | 8 |
| TOTAL COMO AUTOR | 8 |
| TOTAL COMO EDITOR | 1 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2006 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2015 |
| ÍNDICE H | 2 |
Investigations Into the Phenomenology and the Ontology of the Work of Art
This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The …
Roman Ingarden's theory of reader experience
Roman Ingarden (1973a, 1973b) developed an ontology of the literary artwork with implications for a theory of reader experience. An upshot of the fact that narratives represent only incompletely determined states of affairs, endowed with “spots of indeterminacy,” is that readers fill out the blanks left by the author. Filling-out is therefore considered a quasi perceptual act leading to the constitution of a full object in the reader's experience…
Making sense together
How is linguistic communication possible? How do we come to share + the same meanings of words and utterances? One classical position holds that human beings share a transcendental “platonic” ideality independent of individual cognition and language use (Frege 1948). Another stresses immanent linguistic relations (Saussure 1959), and yet another basic embodied structures as the ground for invariant aspects of meaning (Lakoff and Johnson 1999). He…
The grammar of aesthetic intuition
Multi safe compound constructions
Our paper rejects Anders Søgaard's claim in Semiotica 169 (1/4) to the effect that our article ‘Waterproof fire stations? Conceptual schemata and cognitive operations involved in compound constructions’ in Semiotica 161 (1/4) goes astray in that it is ‘monoconstructional’ when it ought to be ‘multiconstructional.’ We demonstrate point by point that Søgaard's objections are wrong, not only as regards the argument, but also, as regards plain empiri…
The cognitive import of the narrative schema
This paper aims to establish the origin of the narrative schema in the perception of intentional movements. The distinction between mechanical and intentional movements is vital for human beings, and the narrative schema, which is underpinned by this distinction, is therefore a basic cognitive principle of intelligibility. This is the reason why the narrative schema is by no means confined to the domain of the literary work of art. It is rather a…
The story turned upside down
This text has two parts. In the first section, we intend to define the narrative schema — the canonical plot structure — as a symbolic form in Ernst Cassirer's sense of the term. This basically implies that the narrative schema is not an invariant higher order combinatorial form, but may itself be subject to variations in view of yielding specific meaning effects. This is because the production and reception of a narrative is a dynamic process wh…
Principles of linguistic composition below and beyond the clause
The present investigation challenges the traditional distinction between cohesion and coherence ; i.e., the distinction between the syntactical rules governing the composition of lexical units within the scope of the clause and the semantic-pragmatic rules guiding the composition of text units beyond the scope of the clause. To this end it exposes two major principles of semantic combination that are active through all levels of linguistic compos…
Waterproof fire stations? Conceptual schemata and cognitive operations involved in compound constructions
The paper develops a characterization of nominal compounds. The analysis is carried out on frame-schematic and construction-grammatical grounds. It rests on assumptions about cognitive processing long since known within cognitive linguistics, but it criticizes certain linguistic applications of Fauconnier and Turner's theory of conceptual integration, which historically is a reelaboration of Lakoff and Johnson's theory of metaphor. The first sect…
Making sense together
How is linguistic communication possible? How do we come to share + the same meanings of words and utterances? One classical position holds that human beings share a transcendental “platonic” ideality independent of individual cognition and language use (Frege 1948). Another stresses immanent linguistic relations (Saussure 1959), and yet another basic embodied structures as the ground for invariant aspects of meaning (Lakoff and Johnson 1999). He…
Waterproof fire stations? Conceptual schemata and cognitive operations involved in compound constructions
The paper develops a characterization of nominal compounds. The analysis is carried out on frame-schematic and construction-grammatical grounds. It rests on assumptions about cognitive processing long since known within cognitive linguistics, but it criticizes certain linguistic applications of Fauconnier and Turner's theory of conceptual integration, which historically is a reelaboration of Lakoff and Johnson's theory of metaphor. The first sect…
Roman Ingarden's theory of reader experience
Roman Ingarden (1973a, 1973b) developed an ontology of the literary artwork with implications for a theory of reader experience. An upshot of the fact that narratives represent only incompletely determined states of affairs, endowed with “spots of indeterminacy,” is that readers fill out the blanks left by the author. Filling-out is therefore considered a quasi perceptual act leading to the constitution of a full object in the reader's experience…
The story turned upside down
This text has two parts. In the first section, we intend to define the narrative schema — the canonical plot structure — as a symbolic form in Ernst Cassirer's sense of the term. This basically implies that the narrative schema is not an invariant higher order combinatorial form, but may itself be subject to variations in view of yielding specific meaning effects. This is because the production and reception of a narrative is a dynamic process wh…
Principles of linguistic composition below and beyond the clause
The present investigation challenges the traditional distinction between cohesion and coherence ; i.e., the distinction between the syntactical rules governing the composition of lexical units within the scope of the clause and the semantic-pragmatic rules guiding the composition of text units beyond the scope of the clause. To this end it exposes two major principles of semantic combination that are active through all levels of linguistic compos…
Waterproof fire stations? Conceptual schemata and cognitive operations involved in compound constructions
The paper develops a characterization of nominal compounds. The analysis is carried out on frame-schematic and construction-grammatical grounds. It rests on assumptions about cognitive processing long since known within cognitive linguistics, but it criticizes certain linguistic applications of Fauconnier and Turner's theory of conceptual integration, which historically is a reelaboration of Lakoff and Johnson's theory of metaphor. The first sect…
The cognitive import of the narrative schema
This paper aims to establish the origin of the narrative schema in the perception of intentional movements. The distinction between mechanical and intentional movements is vital for human beings, and the narrative schema, which is underpinned by this distinction, is therefore a basic cognitive principle of intelligibility. This is the reason why the narrative schema is by no means confined to the domain of the literary work of art. It is rather a…
The story turned upside down
This text has two parts. In the first section, we intend to define the narrative schema — the canonical plot structure — as a symbolic form in Ernst Cassirer's sense of the term. This basically implies that the narrative schema is not an invariant higher order combinatorial form, but may itself be subject to variations in view of yielding specific meaning effects. This is because the production and reception of a narrative is a dynamic process wh…
Multi safe compound constructions
Our paper rejects Anders Søgaard's claim in Semiotica 169 (1/4) to the effect that our article ‘Waterproof fire stations? Conceptual schemata and cognitive operations involved in compound constructions’ in Semiotica 161 (1/4) goes astray in that it is ‘monoconstructional’ when it ought to be ‘multiconstructional.’ We demonstrate point by point that Søgaard's objections are wrong, not only as regards the argument, but also, as regards plain empiri…
The grammar of aesthetic intuition
Roman Ingarden's theory of reader experience
Roman Ingarden (1973a, 1973b) developed an ontology of the literary artwork with implications for a theory of reader experience. An upshot of the fact that narratives represent only incompletely determined states of affairs, endowed with “spots of indeterminacy,” is that readers fill out the blanks left by the author. Filling-out is therefore considered a quasi perceptual act leading to the constitution of a full object in the reader's experience…
Making sense together
How is linguistic communication possible? How do we come to share + the same meanings of words and utterances? One classical position holds that human beings share a transcendental “platonic” ideality independent of individual cognition and language use (Frege 1948). Another stresses immanent linguistic relations (Saussure 1959), and yet another basic embodied structures as the ground for invariant aspects of meaning (Lakoff and Johnson 1999). He…
Investigations Into the Phenomenology and the Ontology of the Work of Art
This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The …
Philosophy (9 obras) · Epistemology (7 obras) · Linguistics (7 obras) · Computer Science (6 obras) · Language, Metaphor, and Cognition (5 obras) · Psychology (5 obras) · Mathematics (4 obras) · Semiotics (4 obras) · Sociology (4 obras) · Artificial Intelligence (3 obras)