Edited By Elżbieta Chrzanowska-Kluczewska and Olga Vorobyova
The book offers an interdisciplinary discussion of the cognitive-semiotic interface between language, literature, and the arts, with a special focus on creativity and imagination. It brings together international contributors suggesting a wide range of innovative perspectives on the correlation between verbal discourse and creative artefacts. The book reveals the specificity of such phenomena as parallax, transparency, corporeal imagination, and multimodality. Alongside interpreting artistic texts, the contributors search for cognitive and semiotic manifestations of creativity in political and everyday discourse.
Corporeal Imagination in the Reception of Verbal and Visual Artworks (Elżbieta Chrzanowska-Kluczewska)
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Jagiellonian University in Krakow, Poland
Corporeal Imagination in the Reception of Verbal and Visual Artworks
Abstract: This study refers the readers back to the debate, initiated by 20th-c. Polish phenomenologist Roman Ingarden and taken up by theoretician of art Ernst H. Gombrich, about the density of spots of indeterminacy in literary and visual texts. Such ‘areas of blindness’ await their closure (concretisation) in the process of interpretation. Within the phenomenological framework, Maurice Merlau-Ponty’s cognitively oriented evaluation of painting is also invoked. The author of the paper argues for the need to activate corporeality (several perceptual modalities) in the reception of artistic texts, verbal and non-verbal alike. Activation of corporeal imagination in the dealings with works of art is topical not only for cognitive semiotics and phenomenology but also for neuroaesthetics. The research deals mostly with intermedial/transmedial effects in poetry and painting, which phenomenon in relation to the former is described as a ‘broadly conceived synaesthesia’. Transmediality appears as well in the case of musical and other than pictorial effects displayed by the works of the fine arts and architecture, remaining closely related to emotivity. The author also forwards the claim that a figurative (tropological) paradigm can be legitimately transposed from literary texts onto texts of visual arts.
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