By Karin Kukkonen
"Bringing neoclassicism again into present day severe debates, this research considers the cognitive underpinnings of the foundations of poetic justice, the unities and decorum, underlines their relevance for present day cognitive poetics and strains their impression within the rising narrative kind of the eighteenth-century novel"--
summary: "Bringing neoclassicism again into modern serious debates, this examine considers the cognitive underpinnings of the principles of poetic justice, the unities and decorum, underlines their relevance for contemporary cognitive poetics and lines their effect within the rising narrative kind of the eighteenth-century novel"
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Additional info for A prehistory of cognitive poetics : neoclassicism and the novel
Theoretical deliberations place theories from the humanities about literary reception in dialogue with theoretical models from the sciences. The two books which Richardson reviews in his 2015 article, David Herman’s Storytelling and the Sciences of the Mind (2013) and Paul Armstrong’s How Literature Plays with the Brain (2013), are examples of this approach. The radical diversity of cognitive approaches is generally considered a weakness. Richardson refers, for example, to Meir Sternberg’s (2003) critique of the field as “lacking in organization and coherence” (cited in A.
N e o c l a s s i c a l P o e t i c s a n d t h e R i s e of t h e N o v e l [ 11 ] 12 authority of ancient authors and critics, whose grasp of these principles is thought to be exemplary for moderns, too. 8 They are precisely not a recipe book or checklist, even if many critics—“not exact but nice” (l. 286) —have used them as such. The rules are better understood as formalizations of larger cognitive principles. Neoclassicism was a truly European project, beginning in Humanist Italy with Vida (1517), Scaliger (1563), and Castelvetro (1570) (see Spingarn 1908), and continuing in France and Britain (as well as in Spain and Germany) in the seventeenth and eighteenth centuries.
To pursue such a bottom-up approach, we now need to develop a loose framework within which each of the case studies can find its place. 2 “SUCCESSFUL SOLUTIONS” As the neoclassical critics outlined strategies of writing fiction which corresponded to “nature,” they addressed the need for a work both to give satisfaction to its readers (through the understanding of their psychological responses) and to achieve the proper standard of its art (see R. S. Crane 1952a, 380). The newly professionalized novelists of eighteenth-century Britain felt both these requirements very keenly.
A prehistory of cognitive poetics : neoclassicism and the novel by Karin Kukkonen