“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik

On account of its constitution as a temporally organized sequence of verbal utterances, typically presented from a speaker’s subjective perspective, lyric poetry is particularly suited to simulate mental processes and thereby mediate forms of cognition and insight. Indeed, the presentation of cognit...

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Autor principal:	Peter Hühn
Formato:	article
Lenguaje:	DE EN
Publicado:	Universität Trier 2019
Materias:	lyric poetry cognition insight naratological approach mental event poetik erkenntnis england Language and Literature P
Acceso en línea:	https://doaj.org/article/21b13f53d76743bb956dcab28cefce20
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spelling	oai:doaj.org-article:21b13f53d76743bb956dcab28cefce202021-11-22T07:26:24Z“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik10.25353/ubtr-izfk-fd0c-f15c2698-492X2698-4938https://doaj.org/article/21b13f53d76743bb956dcab28cefce202019-09-01T00:00:00Zhttps://izfk.uni-trier.de/index.php/izfk/article/view/24https://doaj.org/toc/2698-492Xhttps://doaj.org/toc/2698-4938On account of its constitution as a temporally organized sequence of verbal utterances, typically presented from a speaker’s subjective perspective, lyric poetry is particularly suited to simulate mental processes and thereby mediate forms of cognition and insight. Indeed, the presentation of cognitive phenomena can be considered one of the prime functions of lyric poems throughout the history of poetry. For the analysis of such processes in poems a transgeneric narratological approach is here proposed, which is ultimately based on the anthropological fact that human existence is inescapably subject to temporality and change and that individuals are therefore permanently concerned with understanding, structuring, planning or preventing change. For this purpose, they employ the basic operation of narration in their communication both with others and themselves as well as in the production and reception of the various artistic genres, not only in fiction, drama and film, but also in lyric poetry. Poems employ narrative elements in a variety of modes which are specific to poetry, such as psycho-narration, mini-narratives, condensed, implicit or metaphorical narratives. A central device for structuring and interpreting a narrative sequence is the event, a transformation or decisive turn in the chain of changes, which then constitutes the moment of cognition or insight in the poem. The presentation of such a mental transformation from the speaker’s limited subjective perspective allows for a critical assessment of status and motivation of the process of cognition on the part of the reader. This transgeneric narratological approach to the cognitive dimension of lyric poetry will first be demonstrated with the analysis of an older prototypical example, W. B. Yeats’s “The Second Coming”, and then applied to three recent, complex British-Irish poems, Eavan Boland’s “The Making of an Irish Goddess”, Kathleen Jamie’s “The Way We Live” and Paul Muldoon’s “Why Brownlee Left”, exemplifying the range of variation in which lyric poetry can perform and mediate mental processes of cognition.Peter HühnUniversität Trierarticlelyric poetrycognitioninsightnaratological approachmental eventpoetikerkenntnisenglandLanguage and LiteraturePDEENInternationale Zeitschrift für Kulturkomparatistik, Vol 1, Pp 79-92 (2019)
institution	DOAJ
collection	DOAJ
language	DE EN
topic	lyric poetry cognition insight naratological approach mental event poetik erkenntnis england Language and Literature P
spellingShingle	lyric poetry cognition insight naratological approach mental event poetik erkenntnis england Language and Literature P Peter Hühn “But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik
description	On account of its constitution as a temporally organized sequence of verbal utterances, typically presented from a speaker’s subjective perspective, lyric poetry is particularly suited to simulate mental processes and thereby mediate forms of cognition and insight. Indeed, the presentation of cognitive phenomena can be considered one of the prime functions of lyric poems throughout the history of poetry. For the analysis of such processes in poems a transgeneric narratological approach is here proposed, which is ultimately based on the anthropological fact that human existence is inescapably subject to temporality and change and that individuals are therefore permanently concerned with understanding, structuring, planning or preventing change. For this purpose, they employ the basic operation of narration in their communication both with others and themselves as well as in the production and reception of the various artistic genres, not only in fiction, drama and film, but also in lyric poetry. Poems employ narrative elements in a variety of modes which are specific to poetry, such as psycho-narration, mini-narratives, condensed, implicit or metaphorical narratives. A central device for structuring and interpreting a narrative sequence is the event, a transformation or decisive turn in the chain of changes, which then constitutes the moment of cognition or insight in the poem. The presentation of such a mental transformation from the speaker’s limited subjective perspective allows for a critical assessment of status and motivation of the process of cognition on the part of the reader. This transgeneric narratological approach to the cognitive dimension of lyric poetry will first be demonstrated with the analysis of an older prototypical example, W. B. Yeats’s “The Second Coming”, and then applied to three recent, complex British-Irish poems, Eavan Boland’s “The Making of an Irish Goddess”, Kathleen Jamie’s “The Way We Live” and Paul Muldoon’s “Why Brownlee Left”, exemplifying the range of variation in which lyric poetry can perform and mediate mental processes of cognition.
format	article
author	Peter Hühn
author_facet	Peter Hühn
author_sort	Peter Hühn
title	“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik
title_short	“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik
title_full	“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik
title_fullStr	“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik
title_full_unstemmed	“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik
title_sort	“but now i know”: erkenntnisprozesse als mentale ereignisse in zeitgenössischer englischer lyrik
publisher	Universität Trier
publishDate	2019
url	https://doaj.org/article/21b13f53d76743bb956dcab28cefce20
work_keys_str_mv	AT peterhuhn butnowiknowerkenntnisprozessealsmentaleereignisseinzeitgenossischerenglischerlyrik
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“But now I know”: Erkenntnisprozesse als mentale Ereignisse in zeitgenössischer englischer Lyrik

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