The Great Semblance Is Invisible Lao tzu and Chuang tzu＇s Cognitive Aesthetics

In the paper I will research Lao tzu and Chuang tzu＇s cognitive aesthetics based on the generalized cognizance. Lao tzu and Chuang tzu are the representative figures of Taoism in pre-Qin period, they fully affirm the natural and human nature, naysay affirm human social, cultural and moral, cancel the traditional music, naysay affirm material, they pursue art which is eligibility natural and completely abandon the man-made things, esthetical state according with Tao. They think the great voice is no sound, the great semblance is invisible, the no sound voice and invisible semblance are insight native beauty which are associated with a specific aesthetic feeling but surpass the limited aesthetic feeling, all is the highest state of art and beauty, reach this level, in fact, has entered the Tao. In order to reach this state, they asked people to cleanse away inner desire and external disturbance, keep simplicity, abandon knowledge and wisdom, keep heart bright and clean, forget everything in order to contact the natural law with the nature, the nature＇s mystery runs automatically, the sounds of nature sound itself. About the invisible semblance aesthetic, they put forward the concepts such as gain its meaning but forget the word, illocutionary force

Iconicity of the Poetic Form:The Rhythm in a Short Story

This paper proposes that poetic form is a phonetic-conceptual integration that works from the iconic relations and cognitive mapping between the phonetic complex and the conceptualaffective complex,and that such mappings can be analyzed using the blending model by Fauconnier and Turner.Because literary expressions maintain a relation of iconicity with its meaning,it is possible to perform a metaphorical reading of the text as a single poetic form or a sole symbolic construct.As an example of the application of this model in literary analysis,some stylistic strategies from "Los inocentes",by Ines Arredondo,are analyzed with the purpose of showing the effects of iconic relationships that are created between the phonetic complex and the conceptual-affective complex at the moment of building the meaning of the literary text.

Multimodal Poetic Iconicity in Jimmy's The Moon Forgets

This article draws on the theory of poetic iconicity as expounded by Margret.H.Freeman to offer a tentative study on how multimodality affects its realization through an analysis of a pictorial narrative by a Taiwan Residents writer—Jimmy’s The Moon Forgets.The analysis shows that,different from its performance in verbal texts,poetic iconicity in a multimodal literary work is achieved by tapping the immense potential inherent in pictorial-verbal conf igurations.Diagrammatic iconicity,seen in its narrative structure and in the multimodal configuration of the story,is found in this case to serve the global metaphor LIFE-DEATH IS A CYCLE and contribute to an aesthetically wild ecstasy.The metaphorical implications in relation to the theme within the scope of diagrammatic iconicity help constitute the ineffable charm of this pictorial fiction.Multimodal poetic iconicity—deploying diverse structural patterns and relational conf igurations to create an artistic resemblance to the abstract patterns in feelings and thoughts—is shown to be an important contributing factor in the effectiveness of the work’s literary communication.