Reuven Tsur is een pionier op het gebied van cognitieve poëtica, die onderzoekt hoe lezers literatuur waarnemen en ermee omgaan. Zijn werk past geavanceerde theorieën toe om poëtische elementen zoals ritme, metafoor en rijm te analyseren in diverse talen en historische perioden. Tsur's innovatieve onderzoek duikt diep in de instrumentele analyse van poëtische voordracht, met name van het ritme, en verlegt de grenzen van literaire analyse. Door linguïstiek, psychologie en esthetiek te integreren, biedt hij diepgaande inzichten in de leeservaring en de structuur van literaire betekenis.
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.