À la recherche du temps perdu, 45, 82, 120
A Leg to Stand On (Oliver Sacks), 44
A THINKER IS A MOVER AND A MANIPULATOR, 43–45, 50
Absolute tenses, 151
Accusative language, 156
Actor, 10, 22
ACTORS ARE BODY ACTORS, 38
ACTORS ARE MANIPULATORS, 41–43
ACTORS ARE MOVERS, 39, 43
ACTORS ARE MOVERS AND MANIPULATORS, 43
Actors, prototypical, 20
Adaptiveness, environment of evolutionary, 167
Aesop’s Fables, 6, 139
Agency, 20
Al-Ashar (The Thousand and One Nights), 126, 130
Alcestis, 31–32, 77, 78
Alice’s Adventures in Wonderland, 57
Allegory, 92
Analogy, 93
Animacy, 20–22
Animate agent, 22, 133
Apollo and the shipmates (Odyssey), 33
Aristotle, 21; on language, 160
Artificial life, 95
Ascent of Mount Carmel, The, 44
Augustine of Hippo, Saint, 116
Balance image-schema, 16
Basic level, 24
Basic metaphor, 91
“Being Leads to Doing,” 133
Bertran de Born, 61–63, 68
Bible, 53
Bickerton, Derek, 162
Binding problem, 110, 179
Binnick, Robert, 149
Biography, 136
Birth, story of, 52
Blake, William, 53
Blended space, 60–61
composition, completion, and elaboration in, 83–84
linguistic marks of, 66
visual representations of, 97–98
Blending, 60–61
and the brain, 109
in the development of scientific concepts, 96
and neuroscience, 110
Bloom, Paul, 141, 163–65
Booth, Wayne, 74–75, 135
Bounded interior, 16
Browning, Robert, 30
Brugman, Claudia, 16, 179
Bruner, Jerome, 134
Bunyan, John, 44
Burke, Kenneth, 134
Calvin, William, 18
Caractères, Les, 134
Carroll, Lewis, 57
Category, 9–10, 14
and analogy, 93
basic-level, 180
of concrete objects, 169 n
conventional, 93
object vs. event, 14
perceptual, 111
Causal relation, 18
Causative construction, 156
Caused motion, 21–22
construction, 103
Character, 132–34
blended, 136
Charlotte Summers, 74
Charts, diagrams, coins, maps, 97
Chinese Written Character as a Medium for Poetry, The, 140
Chomsky, Noam, 140, 161–64
Colomb, Gregory. See Williams, Joseph
Colston, Herbert L., 179
Completion in blended space, 83–84
Composition in blended space, 83–84
Comrie, Bernard, 152–53, 161
Concept, 57
of a concept, 106
essential but invented, 14
Conduit metaphor, 42 Confessions (Saint Augustine), 116
Consciousness, 6
Constraints on projection, 53
Construction, linguistic, 88, 103
blend, 88, 93
and blending, 97
causative, 156
caused-motion, 103
ditransitive, 157
and metonymy, 155
as representation of basic abstract story, 103
resultative, 157
sentential, 158
XYZ, 104–7
Container image schema, 14–16, 23
Convergence zone, 23, 111, 180
Coulson, Seana, 58, 172n
Counterparts in projection, 10, 86
Creole language, 162
Damasio, Antonio R., 23, 111, 179
and Hanna Damasio, 180
Dante, 44, 61–63, 67
and blending, 64
“Dark Night of the Soul, The,” 44
Dark Night, The, 44
David, King of Judah and Israel (Old Testament), 100
Dawood, N.J., 169 n
DEATH IS A MOVER AND MANIPULATOR, 47
Death Is the Mother of Beauty, 53
Death, 77
as Thanatos, 76
as The Grim Reaper, 76–81
Death-in-general, 32–33, 68, 77–80
Dinsmore, John, 152
Discourse grammar, 159
Discourse units, 158
Ditransitive construction, 157
Divine Comedy, 6, 44
Dunker, Carl, 72
Edelman, Gerald, 23, 110–12, 160, 180–81
Elaboration in blended space, 83–84
Emblem, 10, 101
“En una noche oscura,” 44
Epithets, 6
Espenson, Jane, 47
Euripides, 31
Evaluation, 9, 20
Event shape, 28
Events, 9
nonspatial, 36
EVENTS ARE ACTIONS, 26–47, 77–78, 80, 96
EVENTS ARE BODY ACTORS, 45
EVENTS ARE MANIPULATORS, 46
EVENTS ARE MOVERS, 46
EVENTS ARE MOVERS AND MANIPULATORS, 46–47
EVENTS ARE SPATIAL STORIES, 47
Everyman, 6
Explanation, 9, 20
Faerie Queene, 7
Fauconnier, Gilles, 58, 67, 161
Fenollosa, Ernest, 140, 160
Fillmore, Charles, 161
Focus, 117, 122, 134
spatial and temporal, 149
Force dynamics, 16, 179
grammaticalized in English, 161
Freeman, Donald C, 171 n
Futuric present, 151
Gaily, J. A., 180
Geertz, Clifford, 15
GENERIC IS SPECIFIC, 87
Generic space, 86–94, 102, 136
Gibbs, Raymond W., Jr., 179
God’s-eye view, 15
Goffman, Erving, 132
Goldberg, Adele, 103, 161
Gordon, S. E., 180
Gower, John, 53
Gradient of spaces and projections, 92, 105
Graesser, A. C, 180
Grammar, 140
as dynamic and adaptive network of constructions, 147
genetic specialization for, 141, 168
module 140–41
origin of, 145
as set of instruments for guiding space-building and blending, 104
Great Chain, 137
Grim Reaper, 76–81. See also Death
Hamlet, 12, 38
Hemingway, Ernest, 96
Heroism-in-general, 81
Hesiod, 53
Historic present, 151
Holmes, Sherlock, 133
Homer, 27, 44
Hornstein, Norbert, 152
Hubel, David, 180
Hunchback, Tale of the (The Thousand and One Nights), 129
Hupfeld, Herman, 38
Hussein, Saddam, 56
Hypothetical space, 10
Identity connections, 122
Illness-in-general, 77
Image schema, 10, 16–17, 22, 141, 179–80
balance, 16
in basic-level categories, 24
bounded interior, 16
in the brain, 22
complex, 16
container, 14–16, 23
in developmental psychology, 24
event shape, 28
of force dynamics, 29
further reading on, 179—81
and invariance, 30
motion along a path, 16
projection of, 17
Imagination, 19
Indian Ink, 85
Inferno, 61–63
Input space, 60
Integration of distributed operations, 110–11
Integration, reentrant, 112
Interior, bounded, 16
Invariance, 31, 53, 108–9
John of the Cross, Saint, 44
Johnson, Mark, 16, 39, 47, 88, 179
Jungle Book, The, 139
Kay, Paul, 161
King John, 64–68
Koestler, Arthur, 72
La Bruyère, Jean de, 133
Lakoff, George, 16, 26, 39, 47, 79, 81, 87–88, 179–80
Langacker, Ronald, 16, 161
Language, 11
accusative, 156
acquisition of, 159
bioprogram hypothesis, 162
crele, 162
ergative, 156
origin of, 141
viewed by Aristotle as arising by projection from conceptual structure, 160
Latin, 146
Lewis, C. S., 7, 169n
LIFE IS A JOURNEY, 88–90
Linguistics, 140
Macbeth, 40
MacNeice, Louis, 169 n
Mahomet, 63
Mandelblit, Nili, 58, 172 n
Mandler, Jean, 24, 181
Manipulation of physical objects, 41
Mapping. See Projection
Maps, 97
McClelland, James, 170 n
Mental space, 10–11
vs. conceptual domain, 108
temporal, 121
Meredith, M. Alex, 174 n
Mervis, Carolyn, 24
Metaphor, basic, 88
Metaphor, conduit, 42
Metonymy, 10, 155
Milton, 53, 56
MIND IS A BODY MOVING IN SPACE, 43, 88
Modal structure, 29
“Moth and the Star, The,” 138
Movement complex, 21
Movement of self, 20–21
Narrative imagining, 4, 5, 9, 20, 25
Nathan the Prophet (Second Book of Samuel), 6
and boomerang, 100
Natural selection, 162–67
“Nature of Things, The,” 133
Nesting of stories, 127, 131
Neuronal Group Selection, 23, 111, 160, 180
Nonspatial events, 36
Oakley, Todd, 58, 172 n
Objects, 9
manipulation of, 41
prototypical, 21
Odyssey, 26–27, 33
Old Man and the Sea, The, 96
On Interpretation (Aristotle), 160
On the Soul (Aristotle), 21, 170 n
Orientation tuning columns, 23
Ox and the Donkey, Tale of the (The Thousand and One Nights), 3, 10, 57–61
Paolo and Franceses (Inferno), 63
Parable, 5–7, 12–13, 17, 26–27, 57, 85, 118, 141
as argument, 95
as basis of language, 145
common patterns of, 26
literary, 5
as projection and extension of story, 26
and tense, 150
veiled, 101
Parallel distributed processing, 170 n
PEOPLE ARE PLANTS, 77, 80–82
Perception, spatial, 118
Personification, 80, 96
of Death-in-general as an actor, 32
Peter Pan, 134
Pilgrim’s Progress, 6, 44
Pinker, Stephen, 141, 162–65
Planning, 9, 20
“Porphyria’s Lover,” 30
Pound, Ezra, 38, 44
Prediction, 9, 20
Projection, 5–6, 8, 10, 163
of actor onto nonactor, 28
constraints on, 53
counterparts in, 10, 86
entrenched, 99
of image schemas, 17
multiple, 50
of nonspatial stories, 49
of spatial stories, 47
Pronoun, possessive, 66
Prepositional structure, 164
Proust, Marcel, 38, 44–45, 82, 91–92, 120–23, 132
Proverb, 5, 87
Realism, 136
Reasoning, abstract, 18
Reddy, Michael, 42
Reeke, G. N.,Jr., 180
Reentrant mapping, 23
Reentrant signaling and integration, 111–12
Reichenbach, Hans, 152
Relations, causal, 18
Remembrance of Things Past, 38, 132
Resultative construction, 157
Rhetoric of Fiction, The, 74–75, 135
Rikki-Tikki-Tavi, 139
Rime of the Ancient Mariner, The, 7
Role, 132–34
connectors, 133
Rosch, Eleanor, 24, 180
Rumelhart, David, 170 n
Rymer, Russ, 140
Sacks, Oliver, 44
Samuel, Second Book of (Old Testament), 6, 100
Sawyer, J., 180
Self-movement, 20–21
Sensation, 117
capacity for, 20
mechanisms of, 170n
Sequences, 18
Shahrazad, 3–9, 58–60, 125, 129–30, 137
Shahriyar, 3–4, 9, 58–60, 125, 130
Shakespeare, William, 38, 64, 67
Sheer-Khan, 139
Soul, 21
Source and target input spaces, 17, 67, 107
Spatial perception, 118
Spenser, Edmund, 53
Sporns, O. J., 180
Stein, Barry E., 174 n
Stimulus field partitioned into concrete objects, 169 n
Stoppard, Tom, 85
Story, 5–10
as mental activity, 5, 13
spatial, 13–15
structure of, 141
Storytelling, 12
Sun, Douglas, 58, 138
Sweetser, Eve, 16, 43, 47, 179
Syntax as arising from the projection of semantics onto phonology, 160
Tailor’s story, The (The Thousand and One Nights), 129
Talking animals, 11, 139
Talmy, Leonard, 29, 47–48, 161, 179
Target and source input spaces, 6, 17, 67, 107
Temporal space, 121
Temporal viewpoint and focus, 118, 121, 149
Tense, 148–52
as grammaticalization of viewpoint and focus, 161
Tense and parable, 150
Thanatos (Alcestis), 32
Theophrastus, 133
Thomas, Francis-Noel, 179
Thousand and One Nights, The, 4, 67, 102, 125–26, 130–32
Through the Looking Glass, 7
Thurber, James, 138
Time, 48, 152
Time and the Verb, 149
Troilus and Cressida, 38
Varieties of Parable, The, 169 n
Verb phrase, 155
Viewpoint, 117, 122, 134
mental, 126, 131
spatial and temporal, 149
Vision, 12
Visual cortex, extra-striate, 110
Visual integration, 111
Visual representations of mental blends, 98
Vizier, 3–5, 8, 60
Vocal sound, 141, 144
Wasteland, The, 7
Williams, George C, 167
Williams, Joseph, and Gregory Colomb, 158–59, 176 n
Word order in English vs. case endings in Latin, 156
XYZ construction, 104–7