Joël Mortensen
Phd candidate and translator.
Decades after my Maîtrise (Synaesthesia in Shelley's poetry, 1997) & DEA dissertations (Éléments d'une poétique cognitive, 1999) , I'm working on a PHD thesis entitled:
"Emergence symbolique, iconicité a priori, auto-référence procédurale et synesthésie : le cas des métaphores conceptuelles noétiques"
http://www.theses.fr/s190589
For this "cognitive linguistics" theoretical research, I'm using a complex adaptive systems approach to semantics.
Supervisors: Philippe Monneret and Didier Bottineau
Decades after my Maîtrise (Synaesthesia in Shelley's poetry, 1997) & DEA dissertations (Éléments d'une poétique cognitive, 1999) , I'm working on a PHD thesis entitled:
"Emergence symbolique, iconicité a priori, auto-référence procédurale et synesthésie : le cas des métaphores conceptuelles noétiques"
http://www.theses.fr/s190589
For this "cognitive linguistics" theoretical research, I'm using a complex adaptive systems approach to semantics.
Supervisors: Philippe Monneret and Didier Bottineau
less
Related Authors
![RITUPARNA R A Y C H A U D H U R I [Google Scholar and Semantic Scholar]](https://0.academia-photos.com/4504342/1921206/82396388/s200_rituparna._google_scholar_and_semantic_scholar_.jpg)
InterestsView All (14)
Uploads
Papers by Joël Mortensen
It was the first step of a philosophical research, which continued later with cognitive psychology and philosophy of mind.
I had the intuition that synaesthesia was a key phenomena to understand the mind. I also considered that it would be relevant to start with an in-depth study of sensations.
Metaphor concentrates meaning and I therefore consider it interesting as an intuitive "modelisation tool" to start with.
I then had the ambition to introduce cognitive poetics in France (but this ambition came perhaps too early).
My following post-graduate (DEA) dissertation I wrote in 1999-2000 was therefore named "Éléments d'une poétique cognitive" ("Elements of cognitive poetics").Mémoire de poésie anglaise.
----
"Shelley was willing to “awaken sensations like those which animate[d his] bosom” that is to say awaken experiences of mental, physical and emotional feelings resembling his own and existing in their potentiality within the receptive reader’s combinational or suggestible mind. That sensory and emotional picturing should partake in the understanding and “feeling” of ideas is an evidence which was interesting to study on the limited field of the mysterious semantic and psycho-physiological complexity of Shelley’s poetic synaesthesia.
With this thrilling aim in view, we will stick to Shelley’s personality and mentality, discovered through his essays and letters, but also rely on old and recent studies in psychology, physiology, cognition1 or symbolism, made by philosophers, psychologists, literary critics and by poets and artists. In the first part of our dissertation which we entitled “Shelley and synaesthesia”, we will try to find a psychophysiological explanation for Shelley’s synaesthesia and in a second part, we will apply our discoveries and reflections to some chosen poems in order to evaluate the importance of this type of imagery in Shelley’s poetry. This study has also the ambition to be a reflection on the metamorphosis of human sensibility, without which no artistic works (its avatars) can live, last, and above all be shared. We hope to cast some interesting subjective light on the secret combining qualities of the creative poetic mind.
In other words, this dissertation was also written as an attempt to explore the sources of art and creation. "
(1997-1998)
It was the first step of a philosophical research, which continued later with cognitive psychology and philosophy of mind.
I had the intuition that synaesthesia was a key phenomena to understand the mind. I also considered that it would be relevant to start with an in-depth study of sensations.
Metaphor concentrates meaning and I therefore consider it interesting as an intuitive "modelisation tool" to start with.
I then had the ambition to introduce cognitive poetics in France (but this ambition came perhaps too early).
My following post-graduate (DEA) dissertation I wrote in 1999-2000 was therefore named "Éléments d'une poétique cognitive" ("Elements of cognitive poetics").Mémoire de poésie anglaise.
----
"Shelley was willing to “awaken sensations like those which animate[d his] bosom” that is to say awaken experiences of mental, physical and emotional feelings resembling his own and existing in their potentiality within the receptive reader’s combinational or suggestible mind. That sensory and emotional picturing should partake in the understanding and “feeling” of ideas is an evidence which was interesting to study on the limited field of the mysterious semantic and psycho-physiological complexity of Shelley’s poetic synaesthesia.
With this thrilling aim in view, we will stick to Shelley’s personality and mentality, discovered through his essays and letters, but also rely on old and recent studies in psychology, physiology, cognition1 or symbolism, made by philosophers, psychologists, literary critics and by poets and artists. In the first part of our dissertation which we entitled “Shelley and synaesthesia”, we will try to find a psychophysiological explanation for Shelley’s synaesthesia and in a second part, we will apply our discoveries and reflections to some chosen poems in order to evaluate the importance of this type of imagery in Shelley’s poetry. This study has also the ambition to be a reflection on the metamorphosis of human sensibility, without which no artistic works (its avatars) can live, last, and above all be shared. We hope to cast some interesting subjective light on the secret combining qualities of the creative poetic mind.
In other words, this dissertation was also written as an attempt to explore the sources of art and creation. "
(1997-1998)