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By Karin Kukkonen

"Bringing neoclassicism again into modern-day serious debates, this learn considers the cognitive underpinnings of the principles of poetic justice, the unities and decorum, underlines their relevance for state-of-the-art cognitive poetics and lines their impact within the rising narrative type of the eighteenth-century novel"--

summary: "Bringing neoclassicism again into state-of-the-art severe debates, this research considers the cognitive underpinnings of the foundations of poetic justice, the unities and decorum, underlines their relevance for state-of-the-art cognitive poetics and strains their impression within the rising narrative type of the eighteenth-century novel"

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Extra info for A prehistory of cognitive poetics : neoclassicism and the novel

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Indeed, such a “Bayesian” model of literary narrative provides a larger outline that can include all three rules of neoclassicism. Not only do readers prefigure what should happen to people with particular characteristics and how characters should act in a particular set of circumstances, as decorum suggests; instead, the entire process of narrative can be understood as movement through revisions of probabilities (see Kukkonen 2014a). In the comeuppance plot, for example, readers’ sense of probabilities moves from the expectation of cooperation to the expectation of punishment.

More generally speaking, scholars in the history of science have called into question the notion of a “scientific revolution” which suddenly and irrevocably made the world “modern” in the seventeenth century. Steven Shapin in his introduction to The Scientific Revolution (1996) identifies the increased influence of mechanism and materialism, the move to mathematize natural philosophy, and the beginnings of experimental protocols as the tentative features of “revolution” in the seventeenth century, but he also stresses that these changes amounted by no means to a cohesive project.

The neoclassical project unfurled its wings in an environment of contemporary developments and debates that included the rise of interest in reader response, the battle between the ancients and the moderns, and the 8. Throughout the neoclassical debate, the importance of the “judicious” application of the rules is stressed. What Pope calls “judgment” in his “Essay” was also addressed under the headings of “common sense” (le bon sens) and “taste” (le gout) across the century. Later, taste is also understood in terms of “sentiment,” which “allows us to judge a work of art based on the feelings which it calls forth” (Kremer 2008, 53; permet de juger d’une oeuvre d’art à partir des sensations qu’elle procure).

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