“HOW CAN WE KNOW THE DANCER FROM THE DANCE?”: COGNITIVE POETICS AND WILLIAM BUTLER【翻译】-CSDN博客

Pagel, Amber Noelle. “How Can We Know the Dancer from the Dance?”: Cognitive
Poetics and William Butler Yeats’s Poetry. Doctor of Philosophy (English), May 2017, 195 pp., 6
figures, bibliography, 82 titles.
Cognitive poetics, the recently developed field of literary theory which utilizes principles
from cognitive science and cognitive linguistics to examine literature, is applied in this study to
an exploration of the poetry of William Butler Yeats. The theoretical foundation for this
approach is embodiment theory, the concept from cognitive linguistics that language is an
embodied phenomenon and that meaning and meaning construction are bodily processes
grounded in our sensorimotor experiences. A systematic analysis including conceptual
metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is
applied here to selected poems of Yeats to discover how these models can inform our readings
of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of
syntax in stanzaic development, his atemporalization through grammar, and the antinomies
which converge in selected symbols from his poems.
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Copyright 2017
by
Amber Noelle Pagel
iii
ACKNOWLEDGEMENTS
Many people are owed gratitude for their support and guidance as I have travelled my
journey to this degree. Over the years my friends, family, colleagues, and professors have
supported me in this endeavor, and for this I am profoundly grateful to them. I cannot express
enough love and appreciation to those who have sustained and encouraged me through this
labour. First to my parents, Cecil and Phyllis Pagel, with whom all of my academic success began
in the excellent educational foundation which they provided me. They taught me a love of
reading, a desire to learn, and a duty to think critically and analytically. To my husband Aaron
Hatch for the years of patience, the emotional support, the listening ear, the steadfast love, the
sanctuary of our home…as well as driving me around the tiny roads of Ireland—on the left side!
To Dr. Holdeman, whose expertise has been invaluable, his expectations challenging, and his
passion for Yeats inspiring. To Dr. Pettit and Dr. Peters for their time, encouragement, and
guidance. To Dr. Nancy Price, my friend and mentor, who has guided and uplifted me since my
undergraduate days. To my dearest friend and kindred spirit Amelia Beason for her unwavering
belief in me, the late nights and many glasses of wine, and her constant strength which
bolstered me up through the stages of tears and discouragement. To my PhD buddy Dr.
Heather Robinson! All of those encouraging texts and notes, the sweet cards, and the wise
advice carried me through to the end. To Rachel Wolf, my dean who first gave me my
professorship, but who then fast became my friend, a friend who has given me so much more:
wisdom, solace, and confidence. And finally to my felines, my dear writing buddies—Queen
Freya and Mr. Mugsy—who through my days and nights of reading and writing warmed both
my lap and my spirit.
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TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ................................................................................................................... iii
LIST OF FIGURES .............................................................................................................................. vi
CHAPTER 1. INTRODUCTION ........................................................................................................... 1
The Terminology of Cognitive Linguistics: .......................................................................... 9
Embodiment Theory ......................................................................................................... 10
Conceptual Metaphors ..................................................................................................... 13
Image Schemas ................................................................................................................. 18
Mental Spaces ................................................................................................................... 20
Cognitive Grammar ........................................................................................................... 22
Trajectory of this Project .................................................................................................. 23
CHAPTER 2. EMBODIMENT AND THE MIND’S EYE ....................................................................... 27
Embodiment in Conceptual Metaphors and Image Schemas in “Easter, 1916” .............. 36
The Mind’s Eye .................................................................................................................. 44
CHAPTER 3. COGNITIVE MAPPINGS AND MENTAL SPACES .......................................................... 65
Conceptual Metaphor Mappings ...................................................................................... 65
“The Second Coming”: Complications of Image Schemas and Metaphors ...................... 83
Mental Spaces and Space Building: .................................................................................. 91
CHAPTER 4. COGNITIVE GRAMMAR: SYNTAX AND TIME ........................................................... 109
Sentence and Stanza ....................................................................................................... 115
Grammar that Defies Time ............................................................................................. 130
Grammar, Time, and Manuscript Revisions ................................................................... 146
CHAPTER 5. ANTINOMIES AND CONCLUSIONS .......................................................................... 152
The Winding Stair, the Gyres, and the Tower ................................................................. 153
The Sacrifice of Attis ....................................................................................................... 169
Byzantium ....................................................................................................................... 171
The Dancer ...................................................................................................................... 181
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Conclusions ..................................................................................................................... 185
BIBLIOGRAPHY ............................................................................................................................ 191