Reuven Tsur est un pionnier de la poétique cognitive, explorant la manière dont les lecteurs perçoivent et s'engagent avec la littérature. Son travail applique des théories sophistiquées pour analyser des éléments poétiques tels que le rythme, la métaphore et la rime à travers diverses langues et périodes historiques. La recherche novatrice de Tsur approfondit l'étude instrumentale de la performance poétique, en particulier du rythme, repoussant les frontières de l'analyse littéraire. En intégrant la linguistique, la psychologie et l'esthétique, il offre des aperçus profonds sur l'expérience du lecteur et la structure même du sens littéraire.
Focusing on the interplay between poetic structure and religious experience, this book explores how verbal imitations evolve into conceptual frameworks. It delves into the challenges of articulating non-conceptual experiences like meditation, ecstasy, and mystic insights, demonstrating how language can bridge the gap between the ineffable and the conceptual.
Poets, academics, and those who simply speak a language are subject to mysterious intuitions about the perceptual qualities and emotional symbolism of the sounds of speech. This title investigates the expressive effect of sound patterns, addressing questions of concern for literary theorists and critics as well as for linguists and psychologists.
Provides a comprehensive view of poetry, with chapters on the sound stratum of poetry, the units-of-meaning stratum, the world stratum, regulative concepts, and, the poetry of orientation and disorientation. This book consists of samples from the author's study of the rhythmical performance of poetry and the expressiveness of speech sounds.
This book attempts to solve the yet unsolved mystery: what are the intuitive rules of versification followed by poets and readers in writing and reading poetry? It performs a small Copernican Revolution, shifting the constraints from verse structure to the reader's «Rhythmic Competence». It confers a psychological meaning upon the phrase «rhythmical performance», that allows us to make predictions concerning the rhythmical performance of a metrically complex line. The theoretical discussions are supported by empirical research, in which readings by leading British actors and colleagues from the academy are submitted to an instrumental investigation.