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Teoría literaria y flexibilidad interdisciplinar

Authors:

Abstract

El estudio aborda el carácter interdisciplinar de la teoría literaria y expone una concepción que la sitúa como ámbito de convergencia de perspectivas científicas y filosóficas, en torno al estudio de la imaginación. Se comienza con un alegato sobre la necesidad epistemológica e institucional de dicha interdisciplinariedad y se sugiere que esta da lugar a un cuestionamiento sobre la naturaleza de los resultados que cada campo del saber proporciona. Deriva de ello una reflexión sobre el tipo de conocimiento que otorgan los estudios teórico-literarios y su singularidad con respecto a los saberes científicos. Dada su flexibilidad metodológica, la teoría de la literatura se halla en posición de articular razonamientos sobre los procesos que subyacen al pensamiento literario. Así, una de sus actuales funciones consiste en incorporar concepciones y herramientas de las ciencias cognitivas con un propósito analítico claro, respondiendo a un fenómeno concreto de la cognición humana cuyo reflejo encuentra en la literatura un repositorio privilegiado. El artículo glosa ejemplos de tal fertilidad concibiendo al lenguaje poético como un terreno propicio para dicha convergencia. Se describe aquí la complejidad de la interdisciplinariedad en los estudios literarios y se sostiene que la teoría literaria ha de proporcionar un material de interés humanístico, ejemplificado en la investigación de procesos específicos de la imaginación poética. Finalmente, se sugiere que la teoría literaria se halla en posición de inspirar ideas en las ciencias cognitivas mediante sus aportaciones sobre el funcionamiento del lenguaje literario y sobre la relevancia de la literatura como corpus de la conciencia humana.






RESUMEN:
El estudio aborda el carácter interdisciplinar de la teoría literaria y expone una concep-
ción que la sitúa como ámbito de convergencia de perspectivas cientícas y losócas
en torno al estudio de la imaginación. Se comienza con un alegato sobre la necesidad
epistemológica e institucional de dicha interdisciplinariedad y se sugiere que esta da
lugar a un cuestionamiento sobre la naturaleza de los resultados que cada campo del
saber proporciona. Deriva de ello una reexión sobre el tipo de conocimiento que otor-
gan los estudios teórico-literarios y su singularidad con respecto a los saberes cientí-
cos. Dada su exibilidad metodológica, la teoría de la literatura se halla en posición de
articular razonamientos sobre los procesos que subyacen al pensamiento literario. Así,
una de sus actuales funciones consiste en incorporar concepciones y herramientas de
las ciencias cognitivas con un propósito analítico claro, respondiendo a un fenómeno
concreto de la cognición humana cuyo reejo encuentra en la literatura un repositorio


    Inscripciones literarias de la ciencia: cognición, epis-
temología y epistemocrítica (ILICIA)    
 
Víctor Bermúdez AO LXX (I)
privilegiado. El artículo glosa ejemplos de tal fertilidad concibiendo al lenguaje poético
como un terreno propicio para dicha convergencia. Se describe aquí la complejidad de
la interdisciplinariedad en los estudios literarios y sostiene que la teoría literaria ha
de proporcionar un material de interés humanístico, ejemplicado en la investigación
de procesos especícos de la imaginación poética. Finalmente, se sugiere que la teoría
literaria se halla en posición de inspirar ideas en las ciencias cognitivas mediante sus
aportaciones sobre el funcionamiento del lenguaje literario y sobre la relevancia de la
literatura como corpus de la conciencia humana.
PALABRAS CLAVE: Interdisciplinariedad, estudios literario-cognitivos, imagi-
nación poética, teoría literaria.

ABSTRACT:
This study addresses the interdisciplinary nature of literary theory and presents
a conception that situates it as a eld of convergence of scientic and philosophical
perspectives surrounding the study of imagination. The study begins with an argument
about the epistemological and institutional necessity of such interdisciplinarity and
it suggests that the contact among disciplines leads to a questioning of the nature
of the results that each eld of knowledge provides. The result is a reection on the
type of knowledge that theoretical-literary studies give and its uniqueness with
respect to scientic knowledge. Given its methodological exibility, the literary theory
is in a position to articulate ideas about the processes underlying literary thought.
Consequently, one of its current functions is to incorporate conceptions and tools of the
cognitive sciences with a clear analytical purpose, responding to a concrete phenomenon
of human cognition whose reection nds in literature a privileged repository. The
article glosses examples of such fertility conceiving poetic language as a propitious
ground for such convergence. The complexity of interdisciplinarity in literary studies
is described here along with the argument that literary theory must provide material
of humanistic interest, illustrated in the investigation of specic processes of the poetic
imagination. Finally, the article suggests that literary theory is able to inspire ideas
in the cognitive sciences by means of its contributions on the functioning of literary
language and on the relevance of literature as a corpus of human consciousness.
KEYWORDS: Interdisciplinarity, Cognitive Literary Studies, Poetic Imagination,
Literary Theory.
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 
1. Introducción: vigilar la interdisciplinariedad
      
       

   


 
    

 per se
      








 






        
      
       
          


by
Víctor Bermúdez AO LXX (I)

     

 
       
    
   by      

        
         

        

    


 

     



  

       
         


Oxford Handbook of Cognitive Literary Studies   


         
      
         
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 
 








       
     


         
     
     

        
         
        

    


     


        
    

      
     
  yuxtaposición, la secuenciación y la coordinación 
Víctor Bermúdez AO LXX (I)
       
la interacción, integración, vinculación y fusión    
      
transgresión, transformación y trascendencia  
         La Transdisciplinarité:
Manifeste       
       
      

grado de aplicación.
        
   un grado epistemológico 


 un grado de engendramiento de nuevas disciplinas.

)
    
 Cognitive Literary Studies) o
Cognitive poetics
    
     


          

2. Proyecciones cognitivas para la teoría de la literatura


       
        
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 
      


      







      





  



     
        






        
        



Víctor Bermúdez AO LXX (I)
   
et
al







  












       
       



    ELINAS    
  Cognition and Poetics  
      
     

      
   
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 
        
      
         
       Cognitive Approaches
to Early Modern Spanish Literature   Cognitive Literary
Studies Current Themes and New Directions   

      


    
         

      
  







         
     


            
       





   
       
Víctor Bermúdez AO LXX (I)

        



3. Imaginación literaria en perspectiva cognitiva



     

       
 

        
      
         




        
        
         
      

 
    
imaginatio,
phantasia

fancy       
      
 
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 


       
         
        
     
       

    



        



        
        
  









     





    
Víctor Bermúdez AO LXX (I)
       
      

       
       
 



Mental Thesis Theory)
        

        
        


   







         
          
        
         
       


     


s
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 

       


      
        
           
   

    

      



La razón estética

    
        

     
gestos





       





Víctor Bermúdez AO LXX (I)
phantasma, tal

De anima
     

noema 




fantasma
      







       
         





Crítica a la razón pura


Diccionario de la Lengua Española


DLE
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 






 
        


         

      
      

     






        


       
        
      
        
         

       
    
         
       
Víctor Bermúdez AO LXX (I)
       
        


        
    

       
        




daydreaming)
      

      
        




     
           

    
      

   
      





Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 

  
What Literature Teaches Us About Emotion 




 








        



       

        



 



Memory in Literature 

       
Víctor Bermúdez AO LXX (I)
     
       
 
       
       




  
 




  


    
       



   

 



  




Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 


Referencias bibliográcas
How Literature Plays with the Brain.
The Neuroscience of Reading and Art
        ,
      

NeuroImage
 Ciencia y modulación del pensamiento
poético: percepción, emoción y metáfora en la escritura de Lorand Gas-
par

Nodos



Nodos

Literary Reading, Cognition and Emotion. An
Exploration of the Oceanic Mind

The Princeton Encyclopedia of Poetry and Poetics

  

Signa
Espectro de la analogía. Literatura y
ciencia
Del animal poema. Olvido García Valdés y
la poética de lo vivo

Idea sú-
bita. Ensayos sobre epifanía creativa
Víctor Bermúdez AO LXX (I)

ARBOR Ciencia, Pensamiento y Cul-
tura
 
      
Frontiers in Human Neuroscience

        
    Frontiers in Human
Neuroscience
Cognitive Literary Studies Current
Themes and New Directions
       Cognitive Approaches to Early
Modern Spanish Literature
      The Eureka Factor. Aha
Moments, Creative Insight, and the Brain,

       
       
Frontiers in Psychology
   The Neural Imagination Aesthetic and
Neuroscientic Approaches to the Arts,  

La mujer de pie

La razón estética

La Transdisciplinarité: Manifeste

       
       World
Literature Studies,

Enthymema
Teoría literaria y flexibilidad interdisciplinarAO LXX (I) 

     The Oxford Handbook of
Cognitive Literary Studies, 

  
 Journal of Literary Theory

   T       The
Oxford Handbook of Interdisciplinarity

 The Princeton Encyclopedia of Poetry and
Poetics

    
Buddhism and Science Breaking New Ground

On the Origin of the Human Mind,

       

The Oxford Handbook of Interdisciplinarity, 

The Oxford Handbook of Cognitive Literary
Studies
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Article
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Las desviaciones de sentido que fundan el lenguaje poético son aquí objeto de una aproximación neurocognitiva a través de las vías de lectura (fonológica y léxica) que vinculan las áreas cerebrales implicadas en el proceso: la del reconocimiento visual de las letras, la de atribución de sonido y la de atribución de sentido. Para ello se rentabilizan conceptos tales como «bigrama», «arborescencia de la palabra» o amorçage. Sobre un poema de Verlaine, se estudian casos de homofonía, rébus y atracción semántica en los que los sentidos seducidos son tanto físicos como léxicos.Deviations of sense of poetic language are studied here in a neurocognitive approach through modes of reading (phonological and lexical) concerning the brain areas involved in the process: the visual recognition of letters, the allocation of sound and the meaning attribution. For this purpose, concepts such as «bigram», «tree structure of the word» or amorçage are analyzed. About a poem by Verlaine, we study some cases of homophony, rebus, and semantic attraction in which the senses are seduced both physical and lexicaly.
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Que la literatura se nutre del olvido parece un hallazgo de la ciencia.
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Paralelamente a su poesía, Bernard Noël desarrolla una obra en prosa que plantea interrogantes de orden cognitivo, en particular en torno a la percepción visual. La exploración de dispositivos tecnológicos (la cámara fotográfica) y de escenificaciones del acto de creación (la escena del pintor trabajando) es ocasión para contrastar la pertinencia de las intuiciones y reflexiones del poeta puestas bajo el foco de las actuales ciencias cognitivas. El trayecto de lo óptico a lo mental queda inscrito en una comprensión encarnada y gestual de la cognición que apunta también hacia el surgimiento del lenguaje. Su poesía ha de ser pues entendida como el tramo final del proceso.
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Our work is based on the hypothesis of an existing interconnection between symbolic-metaphoric elements of the literary text and a series of mind patterns. These compress percep-tion and experience through the emergent process of conceptual blending triggering the seman-tic process during the creative act of poiesis. This enquiry focuses on the use of a peculiar rhetor-ical figure in an exemplary literary text of the famous German poet Goethe. We will try to point out the allegorical function of the scene dedicated to the «Mothers' Kingdom», in his Faust II, as a powerful poetical meta-reflection on imagination, cognition and poetics itself.
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Cognitive poetics, the application of cognitive science to illuminate the study of literary reading, is maturing as a discipline. This paper argues that cognitive poetics is best seen as the latest development in the progressive evolution of stylistics. The endpoint of the process represents the return of rhetoric to the centre of literary scholarship, where it otters an alternative to the purely historiographic paradigm. It is argued that stylistics and cognitive poetics have been successful in providing a descriptive account of how readers construct propositional content from literary reading, but they have only recently turned their attention to a correspondingly rigorous analysis of aesthetics and emotional involvement. The paper surveys recent trends in the field, and argues that the most effective advance in cognitive poetics requires a thorough stylistic grounding to accompany the conceptual theory: the notion of "texture" is key to this. The question of whether cognitive poetics has the status of a critical theory or a method is considered. The paper concludes by arguing that cognitive poetics differs from other critical theoretical approaches partly deriving from its interdisciplinary, scientific and empirical base, and partly because of its relationship with those critical theories. Cognitive poetics is (and should be) a hermeneutic theory with an integral poetic dimension, in order to capture the interaction of meaningfulness and felt experience in literary reading.
Article
This work seeks to chart what happens in the embodied minds of engaged readers when they read literature. Despite the recent stylistic, linguistic, and cognitive advances that have been made in text-processing methodology and practice, very little is known about this cultural-cognitive process and especially about the role that emotion plays. Burk's theoretical and empirical study focuses on three central issues: The role emotions play in a core cognitive event like literary text processing; the kinds of bottom-up and top-down inputs most prominently involved in the literary reading process; and what might be happening in the minds and bodies of engaged readers when they experience intense or heightened emotions: A phenomenon sometimes labelled “reader epiphany.” This study postulates that there is a free-flow of bottom-up and top-down affective, cognitive inputs during the engaged act of literary reading, and that reading does not necessarily begin or end when our eyes apprehend the words on the page. Burke argues that the literary reading human mind might best be considered both figuratively and literally, not as computational or mechanical, but as oceanic.
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