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Erotic Emissions in Greek Poetry: A Generic Integration Network
... supra. No insistimos en esta imagen completamente estu- diada por Pagán (2009Pagán ( , 2010Pagán ( y 2011). ...
... Cf. Hualde (2016: 24). Pagán (2009Pagán ( , 2010Pagán ( y 2011). ...
... Ya presente en la tragedia en Sófocles, Antígona, Traquinias y diversos fragmentos, cf. supra y Douterelo, (1997: 199) y Pagán (2009Pagán ( , 2010Pagán ( , 2011). haces manar deseo de tus ojos, infundiendo un dulce placer en el alma a aquellos a los que atacas, que nunca te me muestres junto con un mal, ni llegues desacom- pasado. ...
Partiendo del concepto de metáfora cognitiva, que complementa al más conocido de metáfora literaria, y analizando la base conceptual que a ambas subyace, pretendemos un cuidadoso análisis de los textos griegos, sin olvidar la importancia fundamental del contexto cultural en que estos surgen, para obtener una mejor comprensión de la forma en que se conceptualizaba el sentimiento amoroso en la Grecia antigua. En este caso nos centramos en una selección de textos de tragedia ática y poesía helenística
... 25 With the principles, vital relations, and network operations in mind, we can also study what gets blended with what, and with what outcomes. A series of blending steps, integrating certain frames, spatial schemas, and other sets of organized knowledge can be argued to give rise to the spatialization of time or emotions (Fauconnier & Turner, 2008;Pagán Cánovas, 2010, or to fictive communication (Pagán Cánovas & Turner, 2016), or to innumerable other phenomena that can be studied with the tools of the blending framework. In this way we will be writing a book of recipes, of generic or generalized integration networks (Fauconnier, 2009), which will contain not only the recipes themselves, but also patterns cutting across them. ...
This article reviews the major take-home points of Gilles Fauconnier’s work, especially of his collaborative work with Mark Turner on blending theory, for readers who are not familiar with this theoretical framework or who could benefit from an external perspective. I emphasize the overarching lessons to be learned from the notions of mental spaces and their connections or mappings, the advantages of using small packages instead of large domains to analyze conceptual work, how integration networks allow us to go beyond mere projections or correspondences between domains of experience, and the need to study patterns that provide a bridge between the general principles and the rich, contextualized examples that expose them. Above all, I seek to transmit Gilles Fauconnier’s message about the fascination, curiosity, ambition, and humility required by the most challenging scientific enterprise possible: understanding the human mind, from the most general principles down to the meaning of a single sentence.
... Different projections lead to a large number of different blends and optimality principles are used to steer possible combinations that generate the blends. Conceptual blending has been successfully applied for describing existing blends of ideas and concepts in a varied number of fields, such as interface design, narrative style, poetry generation, mathematics, visual patterns, music theory, etc. [15,27,73,77,94,95]. ...
The cognitive-linguistic theory of conceptual blending was introduced by Fauconnier and Turner in the late 90s to provide a descriptive model and foundational approach for the (almost uniquely) human ability to invent new concepts. Whilst blending is often described as ‘fluid’ and ‘effortless’ when ascribed to humans, it becomes a highly complex, multi-paradigm problem in Artificial Intelligence. This paper aims at presenting a coherent computational narrative, focusing on how one may derive a formal reconstruction of conceptual blending from a deconstruction of the human ability of concept invention into some of its core components. It thus focuses on presenting the key facets that a computational framework for concept invention should possess. A central theme in our narrative is the notion of refinement, understood as ways of specialising or generalising concepts, an idea that can be seen as providing conceptual uniformity to a number of theoretical constructs as well as implementation efforts underlying computational versions of conceptual blending. Particular elements underlying our reconstruction effort include ontologies and ontology-based reasoning, image schema theory, spatio-temporal reasoning, abstract specification, social choice theory, and axiom pinpointing. We overview and analyse adopted solutions and then focus on open perspectives that address two core problems in computational approaches to conceptual blending: searching for the shared semantic structure between concepts—the so-called generic space in conceptual blending—and concept evaluation, i.e., to determine the value of newly found blends.
... The landscape of logical formalisms, including spatiotemporal logics, is currently unified by the research on universal logic [23,42], which aims to give abstract and general definitions for the notion of 'logic' [54] and 'logical translation' [53], and to produce logic-agnostic meta-results and semantic foundations for meta-languages such as DOL [52]. One problem for formalising image schemas is that the cognitive-driven investigations of how humans perceive and experience time cannot easily be mapped to existing temporal logic approaches [8,13,56]. These limitations to the use of off-the-shelf calculi also extend to the spatial domain. ...
Formal knowledge representation struggles to represent the dynamic changes within complex events in a cognitively plausible way. Image schemas, on the other hand, are spatiotemporal relationships used in cognitive science as building blocks to conceptualise objects and events on a high level of abstraction. In this paper, we explore this modelling gap by looking at how image schemas can capture the skeletal information of events and describe segmentation cuts essential for conceptualising dynamic changes. The main contribution of the paper is the introduction of a more systematic approach for the combination of image schemas with one another in order to capture the conceptual representation of complex concepts and events. To reach this goal we use the image schema logic ISL, and, based on foundational research in cognitive linguistics and developmental psychology, we motivate three different methods for the formal combination of image schemas: merge, collection, and structured combination. These methods are then used for formal event segmentation where the changes in image-schematic state generate the points of separation into individual scenes. The paper concludes with a demonstration of our methodology and an ontological analysis of the classic commonsense reasoning problem of ‘cracking an egg.’
... Conceptual blending is part of both Freeman's cognitive poetics project (see Freeman 2005Freeman , 2006 and Michael Sinding's cognitive approach to genre, in which he integrates the work of Fauconnier and Turner to account for an important aspect of genre theory: genre mixture and hybridization (Sinding 2005, this volume). Recent studies on blending and literature also include the work of Vera Tobin (2006), Amy Cook (2007), Sarah Copland (2008), and Cristóbal Pagán Cánovas (2010. ...
In cognitive linguistics, image schemas were introduced as mental generalisations from embodied experiences capturing notions such as Containment, Support and Source_Path_Goal movement. These spatiotemporal relationships can be found in human cognition as information skeletons for analogical reasoning, as a grounding factor for abstract language and as conceptual building blocks for concepts and events.
Despite the progress seen in research on artificial intelligence, computational systems still struggle with natural language comprehension, to perform meaningful analogical transfers and to display creative capacity in terms of concept invention. The dissertation’s main hypothesis is that, as image schemas appear to be a key component in these processes in human cognition, an integration of formalised image schemas could
advance the computational work in these fields. This dissertation presents the prerequisites to investigate the fruitfulness of this hypothesis, namely, a theoretical framework for the formalisation of image schemas and their integration into computational conceptual blending.
The contribution of the theoretical framework is threefold. First, building on research findings from linguistics and psychology, it is argued that similar image-schematic notions should be grouped together into interconnected family hierarchies, with increasing complexity in regards to the addition of spatial and conceptual primitives. Second, the Image Schema Logic, ISL^FOL, is introduced as a formal language to model
image schemas, as well as their combinations. Third, methods for how the semantic content of image schemas could be used to improve computational concept invention is presented.
In addition to the theoretical framework, two empirical studies are presented. The first provides support for the idea that image schemas model conceptualisations for objects and concepts. The second presents linguistic support to structure image schemas as families, as well as providing the first step towards an automatic method to automatically identify image schemas in natural language.
En el presente artículo se analiza la Orestía de Esquilo desde el punto de vista de cómo la justicia, entendida como superioridad moral, se asocia a la superioridad intelectual y racional. En el mundo clásico las cualidades intelectuales positivas se atribuyen casi exclusivamente a los hombres. Esto es un cambio del mundo homérico, donde la mujer se valoraba también por su inteligencia. Las heroínas de la tragedia clásica son heroínas homéricas que no se acomodan a los ideales clásicos de feminidad. Esta disyunción en la valoración de la mujer deja a los personajes femeninos en desventaja. A través del análisis de pasajes que incluyen verbos de pensamiento y de aprendizaje se puede ver la transición de la mujer homérica a la clásica, que se desarrolla de forma paralela a la transición de la lucha por establecer la superioridad intelectual a la imposición de la revelación del conocimiento.
Conceptual blending has been employed very successfully to understand the process of concept invention, studied particularly within cognitive psychology and linguistics. However, despite this influential research, within computational creativity little effort has been devoted to fully formalise these ideas and to make them amenable to computational techniques. Unlike other combination techniques, blending aims at creatively generating (new) concepts on the basis of input theories whose domains are thematically distinct but whose specifications share structural similarity based on a relation of analogy, identified in a generic space, the baseontology. We introduce here the basic formalisation of conceptual blending, as sketched by the late Joseph Goguen, and discuss some of its variations. We illustrate the vast array of conceptual blends that may be covered by this approach and discuss the theoretical and conceptual challenges that ensue. Moreover, we show how the Distributed Ontology Language can be used to declaratively specify blending diagrams of various shapes, and discuss in detail how the workflow and creative act of generating and evaluating a new, blended concept can be managed and computationally supported within Ontohub, a -enabled theory repository with support for a large number of logical languages and formal linking constructs.
We analyze a group of literary motifs for building fictive interactions, recurring across one of the richest examples of affective communication in Greek literature: the expression of the causes and effects of love in terms of scenes between lover and beloved. In this thematic set, the poetic expression of love is articulated through a direct or indirect interaction between lover and beloved. We expose the main patterns for the integration of concepts that recur across such interactions, showing how entrenched cognitive templates interplay with different cultural contexts and aesthetic goals. Across different periods, authors blend a variety of conceptual elements, producing different levels of fantasy and mediation between the lover’s viewpoint and the beloved’s ‘reality’. Although there is significant variation in how these scenes are built across periods and genres, they all share a core structure and a number of flexible rules that are based on fundamental cognitive operations. Understanding this cognitive core allows us to model how the meaning is built by the different texts. Examining how particular texts use the template for their specific purposes shows us that cognitive structures with arguably a universal nature are not rigid patterns but fluid recipes, providing starting points for creating novel meanings through skillful usage.
A wide-ranging study of popular poetry and song in the Greek language from the last years of the Byzantine Empire to the present day. The folk poetry of the title includes the songs, composed and handed down by word of mouth, of unlettered villagers, of wandering minstrels with pretensions to professionalism, and, in more recent times, of the poorer inhabitants of Ottoman and Greek cities. The creative period of this folk poetry covers, at the minimum, 500 years of history and a geographical area stretching from Corsica in the west to Cyprus and Trebizond in the east, as well as northwards into the Balkans. This is not a general or theoretical survey of folk poetry, but an exploration, based on literary, historical and sociological evidence, of a single cultural tradition and the forces which have shaped it.
This book explores the role of written and oral communication in Greece and is the first systematic and sustained treatment at this level. It examines the recent theoretical debates about literacy and orality and explores the uses of writing and oral communication, and their interaction, in ancient Greece. It is concerned to set the significance of written and oral communication as much as possible in their social and historical context, and to stress the specifically Greek characteristics in their use, arguing that the functions of literacy and orality are often fluid and culturally determined. It draws together the results of recent studies and suggests further avenues of enquiry. Individual chapters deal with (among other things) the role of writing in archaic Greece, oral poetry, the visual and monumental impact of writing, the performance and oral transmission even of written texts, and the use of writing by the city-states; there is an epilogue on Rome. All ancient evidence is translated.
In The Navigation of Feeling: A Framework for the History of Emotions, William M. Reddy offers a theory of emotions which both critiques and expands upon recent research in the fields of anthropology and psychology. Exploring the links between emotion and cognition, between culture and emotional expression, Reddy applies this theory of emotions to the processes of history. He demonstrates how emotions change over time, how emotions have a very important impact on the course of events, and how different social orders either facilitate or constrain emotional life. In an investigation of Revolutionary France, where sentimentalism in literature and philosophy had promised a new and unprecedented kind of emotional liberty, Reddy's theory of emotions and historical change is successfully put to the test.
The now-classic Metaphors We Live By changed our understanding of metaphor and its role in language and the mind. Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by"--metaphors that can shape our perceptions and actions without our ever noticing them.
In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.