Biopoética, cognición y emoción: integración conceptual y emergencia en "The crying of Lot 49" de Thomas Pynchon

BIOPOÉTICA, COGNICIÓN Y EMOCIÓN. INTEGRACIÓN CONCEPTUAL Y EMERGENCIA EN THE CRYING OF LOT 49 DE THOMAS PYNCHON. Autora Marta Silvera Roig Directora Juana Teresa Guerra de la Torre Las Palmas de Gran Canaria 2015 TESIS DOCTORAL EUROPEA Biopoética, Cognición y Emoción. Integración conceptual y emergencia en The Crying Of Lot 49 de Thomas Pynchon. Autora: Marta Silvera Roig Directora de Tesis: Juana Teresa Guerra de la Torre PROGRAMA DE DOCTORADO COD. 254-3 (2007-2009) Departamento de Filología Moderna Las Palmas de Gran Canaria 2015 1 0. Introducción Language is froth on the surface of thought. (John McCarthy) El siglo XXI es el siglo de la mente. Nacida en la segunda mitad del siglo pasado, la Neurociencia crece de forma exponencial: Desde los estudios que investigan las conexiones macroscópicas hasta los que se centran en diminutos axones y sinapsis individuales. En la ambiciosa tarea de crear un conectoma – un mapa de las conexiones neuronales – uno de los objetivos más importantes es comprender cómo esta actividad neuronal crea experiencia. La neurociencia no tiene otra forma de existir que en la interdisciplinariedad, no somos tan solo un cerebro, somos la continua interacción de mente, cuerpo y mundo, en sus infinitas variables y formas. La cognición es corporeizada, situada, distribuida, sinérgica y disipativa; nuestras mentes son emocionales, artísticas, literarias y creativas. Por tanto, las Ciencias Cognitivas son Neurociencia, pero también Psicología, Lingüística, Neurofisiología, Sociología, Filosofía, Antropología, Biología, Inteligencia Artificial y Estudios Literarios. La realidad humana es inherentemente sociocultural, su acción es indivisible de la acción individual, por tanto, la morfodinámica del lenguaje es un sistema biocultural complejo en cuanto a su ensamblaje de estructuras (estructuras conceptuales) y procesos (conceptualización). En el mencionado contexto de puentes entre ciencia y humanidades, Lingüística Cognitiva y Poética Cognitiva conforman un vínculo, no carente de tensión y desencuentros, absolutamente necesario para adentrarnos en los procesos cognitivos de configuración de significado, hacia la Biopoética. La Biopoética, en el continuo interdisciplinar de las ciencias cognitivas, es un enfoque inclusivista fundamental para crear una teoría (meta)cognitiva que integre la realidad biocultural corporeizada de mente y lenguaje. Los mecanismos de integración del lenguaje y la cognición poseen un nivel pre-conceptual donde conceptos y emociones son aun indiferenciados, sus dinámicas de integración se desarrollan desde 2 complejidades locales a complejidades globales, y unas influyen en otras de forma continua. El objetivo de esta tesis es presentar un análisis sobre la emergencia de significado en uno de los sistemas dinámicos más complejos: un texto literario postmodernista. En la primera parte de la misma, exponemos el estado de la cuestión desde la primera a la segunda revolución cognitiva, junto con los fundamentos teóricos y metodológicos que sientan las bases para el análisis conceptual del texto. Seguidamente, profundizaremos en los modelos de la Lingüística Cognitiva, los llamados Modelos Cognitivos Idealizados: los esquemas-imagen, la nueva teoría de la Metáfora, y el Blending Conceptual. Así mismo, expondremos la hipótesis de los marcadores somáticos y las bases de la Neurociencia Afectiva como teorías indivisibles de las primeras en la organización de emociones y significado en nuestro sistema conceptual. Estos modelos e hipótesis conforman una robusta piedra de toque en los estudios literarios desde la Biopoética, y proponemos que la segunda tiene mucho que aportar al recorrido de los primeros. En la segunda parte de este bloque presentaremos la obra analizada, The Crying of Lot 49, de Thomas Pynchon, en su contexto como obra literaria postmoderna en lengua inglesa. El cambio paradigmático, y sin embargo fluido, del modernismo al postmodernismo, la novela como diálogo vivo y sus múltiples niveles de complejidad dinámica, y la emergencia de significado de las integraciones más creativas, hacen del texto elegido un corpus altamente rico para nuestro análisis. En el siguiente capítulo desarrollaremos los conceptos descriptivos que analizaremos más adelante: CONTAINER y LOCATION, como esquemas-imagen en la construcción del espacio en la novela, que motivan las auto-organizaciones continuas del relato y los elementos que los construyen como esquemas dinámicos; las metáforas conceptuales que guían conceptos prominentes en toda la narrativa (como ENTROPY, TRUTH, LIFE y WORLD); los blends conceptuales de los que emergen nuevos espacios mentales; y la interacción de todo ello con las emociones inherentes al enganche biológico de la construcción del significado. La segunda parte de la Tesis es un recorrido por las Teorías del Caos, y su aplicación a la descripción de las dinámicas del lenguaje y las narrativas, junto a su 3 creación (morfogénesis) y uso (dinámica), así como su relación con las ideas que definen el paradigma postmoderno. La importancia de las Teorías del Caos reside en aceptar la complejidad y el comportamiento caótico (determinista y no lineal) de las formas naturales y las creadas por el ser humano. Así, las narrativas dependen de las condiciones siempre fluctuantes del entorno e interactúan con este en constante interdependencia. En las Teorías del Caos las formas son singulares, irreversibles, diversas y sensibles a sus condiciones iniciales de emergencia. En nuestro recorrido por las descripciones del caos determinista describimos la mente postmoderna en un contexto sociocultural histórico marcado por la revolución tecnológica, la nueva era de las comunicaciones, y la fragmentación espacial de sus conceptualizaciones del significado. Las narrativas postmodernas son sistemas disipativos de alta creatividad, inseparables de las mentes corporeizadas que las conforman. Por ello, hemos establecido un vínculo entre complejidad, creación y emoción como marco teórico en el que se suceden las narrativas postmodernas. A continuación, presentamos The Crying of Lot 49 como modelizador de entropía. La crítica literaria sobre la obra de Thomas Pynchon es abundante, Pynchon es visto por muchos como un escritor rupturista por su no conformidad con la linealidad de las narrativas clásicas. Hasta el momento, la crítica ha estado ligada a una variabilidad de ideologías que han guiado la interpretación del texto por una hermenéutica que abarca desde las teorías de género hasta el materialismo histórico. Aquí, proponemos que un análisis de la integración del significado en la novela es esencial para comprender la conceptualización de entropía, la búsqueda, y las emociones en la dinámica del texto. La tercera parte de la tesis establece una aproximación desde la Biopoética a la organización espacial del acto poético. Así, proponemos que la acción en el espacio motiva metáforas nucleares y blends que posibilitan la construcción de nuevos estados de significado. Desde los esquemas-imagen espaciales, los espacios mentales que construyen entropía y emoción nos sirven de base para observar la organización cognitivo-afectiva del sistema narrativo. Seguidamente, presentamos una lista con las 313 metáforas conceptuales de las expresiones metafóricas lingüísticas analizadas, una clasificación según sus dominios meta, acompañados del dominio origen y el foco metafórico, y los mapeos de los 4 aspectos origen y meta entre los dominios conceptuales. En el siguiente apartado veremos cómo se agrupan y evolucionan las metáforas conceptuales en el desarrollo de la novela, y los blends de doble alcance en los que las proyecciones de varios espacios mentales crean un nuevo espacio de significado emergente. El último blend es la representación de cómo se estructura la dinámica del texto en toda la novela. En la parte que sigue describimos cómo las metáforas primarias guían la construcción del concepto ENTROPY, idea que recorre la configuración narrativa de forma ubicua en todo el texto. A continuación, proponemos cómo podría la hipótesis de los marcadores somáticos en los estudios de la emoción - desde la Neurobiología y la Neurociencia Afectiva – actuar de forma sinérgica con los esquemas-imagen de LOCATION y CONTAINER. Creemos que esta sinergia podría funcionar como atractor en el sistema dinámico continuo que es el texto. Esperamos que esta y otras aproximaciones de la Biopoética sigan tendiendo puentes con el fin establecer los importantes vínculos académicos necesarios para que, tanto las ciencias naturales como las ciencias humanas, bañen los campos del conocimiento de las ciencias de la vida. 5 Parte I De la Lingüística Cognitiva a la Biopoética The new atmosphere of theory, language, and culture that humans have spawned continues to increase in richness and density. We do not know where it will lead and what further bursts in evolution it will produce. Michael Moskowitz 1.0 Estado de la Cuestión: las Ciencias Cognitivas. Desde hace dos décadas algo ha cambiado para siempre en los estudios literarios. Algunas décadas antes, se empezó a gestar los que hoy llamamos Ciencias Cognitivas, producto de un tiempo en el que, tal y como relata George A.Miller1 (2003), la Psicología, la Antropología y la Lingüística se redefinían a sí mismas en un momento en el que las disciplinas de la Informática y la Neurociencia veían la luz. En la década de 1950 la cibernética ganaba popularidad, Marvin Minsky y John McCarthy inventaban la ‘inteligencia artificial’, Herb Simon se valía de la informática para simular procesos cognitivos y Noam Chomsky aplicaba las matemáticas a la lingüística. Ante la emergencia de nuevas tecnologías, nuevos materiales y una velocidad de transmisión de la información que crecía de forma exponencial, una nueva disciplina empezaba a tomar forma, una disciplina de disciplinas. En 1977, la Alfred P. Sloan Foundation acababa de terminar una exitosa campaña de apoyo a un campo de estudio recién nacido llamado Neurociencia, y dos vicepresidentes de la fundación, Steve White y Al Singer, se plantearon dar un siguiente paso: tender puentes entre las ideas de cerebro y mente. El nuevo programa recibió el nombre de Ciencias Cognitivas. Ante la perspectiva de que este nuevo programa dedicara sus fondos a lo que se consideró, primero, la Inteligencia Artificial, George A. Miller sostuvo que ésta era parte de algo mayor. De esta forma, en 1978 se ponía de manifiesto el carácter interdisciplinar de las 1 George A.Miller es investigador en el Departamento de Psicología de la Universidad de Princeton. Como alumno en Harvard en los años 50, se formó en teorías conductuales para vivir y participar luego, en primera persona, en el giro cognitivo de las ciencias, surgido en aquellos años. 6 Ciencias Cognitivas. Por aquel entonces, las disciplinas eran seis: Psicología, Lingüística, Neurociencia, Informática, Antropología y Psicología. En 1956 el lingüista Noam Chomsky expuso su teoría del lenguaje en una conferencia en el Instituto Tecnológico de Massachusetts. En ella, Chomsky rechazaba el conductismo y afirmaba que la estructura mental del lenguaje posee principios innatos e universales, transmitidos genéticamente. En el contexto de la primera revolución cognitiva, imperaba la metáfora de la mente como ordenador: un sistema lógico auto-contenido que manipula términos abstractos para producir comportamiento. Por entonces, la mente era aún un mero procesador de información. A finales de la década de 1970 esta concepción de la mente comenzó a cambiar. Se acercaba la segunda revolución de las ciencias cognitivas. En Lingüística, figuras retóricas antaño definidas por su uso literario comenzaron a establecerse como herramientas cognitivas esenciales del pensamiento. La metáfora resurgió entonces como un estructurando abstracto del pensamiento y una forma de construir experiencias (Lakoff y Johnson, 1980; Lakoff y Turner, 1989; Turner, 1987; Gibbs 1994; Sweetser, 1990; Steen, 1994). Concretamente, la publicación de Metaphors We Live By (1980) de Lakoff y Johnson se convirtió en piedra de toque. Nacía así la teoría de la Metáfora Conceptual, según la cual, la metáfora no es un elemento específicamente lingüístico sino un mecanismo cognitivo general. “La metáfora está presente en nuestra vida cotidiana, no solo en el lenguaje sino en el pensamiento y la acción” (traducción propia) (Lakoff y Johnson, 1980). De esta forma, pocos años después, se materializó el cambio de paradigma, alrededor de la idea revolucionaria de que la cognición humana es la actividad emergente de la interacción entre cerebro, cuerpo y mundo (y no una mente en forma de software que se desarrolla en el hardware del cerebro). Ejemplos de este cambio de paradigma son los trabajos de Varela, Thompson y Rosh (1991), Clark (1997), Lakoff y Johnson (1999) o Gibbs (2006), entre otros muchos destacables. Durante esta segunda revolución el acercamiento cognitivo a las narrativas estableció un nuevo enfoque liberador, ante lo que hasta entonces había sido un terreno dominado por la hermenéutica. Los estudios literarios podrían valerse ahora de los avances conseguidos por las Ciencias Cognitivas y formar parte de esta revolución - y tienen mucho que decir respecto a las Teorías de la Mente. 7 Tal y como afirma uno de los principales investigadores en lo que vendría a llamarse Poética Cognitiva, Mark Turner, la mente es, en esencia, artística y literaria. Así, durante las dos últimas décadas del siglo XX, los trabajos de Turner (1987, 1989, 1991, 1996), George Lakoff (1980, 1989, 1987) y Mark Johnson (1987) creaban los cimientos de una disciplina cuya aproximación coloca los estudios literarios en el centro de las nuevas Teorías de la Mente. La metáfora, la imaginación y el relato son herramientas cognitivas básicas del lenguaje, del enganche cognitivo en la experiencia corporal, y se basan en una aproximación no reduccionista que rompe con el dualismo mente/cerebro, reclamando su entorno físico y social. Nosotros aquí exploramos una perspectiva más dinamicista de esta aproximación poética cognitiva que hemos definido Biopoética. 1.1 La Mente Corporeizada. Existe un amplio número de estudios que apoyan que el significado mismo es corporeizado, ejemplos de ello los encontramos en Evans, 2000; Grady, 1997; Johnson, 1987; Lakoff, 1987; Lakoff y Johnson, 1980, 1999; Sweetser, 1990; Turner, 1991; Fauconnier y Turner, 1995; y Varela et al., 1991, entre muchos otros. Una de las figuras centrales en el estudio empírico de la corporeización es George Lakoff - tras publicar Metaphors We Live By, en 1980, consiguió que las ideas de la corporeización se fueran haciendo un hueco en las aproximaciones académicas. En 1997, Grady y Narayanan sentaron las bases de una teoría neural de las metáforas primarias argumentando que el lenguaje posee un enganche físico proveniente de nuestras interacciones durante los primeros años de vida. Tal y como afirma Lakoff, las metáforas son conceptuales por naturaleza y pueden afectar el comportamiento humano. Lakoff y Johnson comienzan Philosophy in the Flesh (1999) afirmando que la razón es corporeizada, esto es, la estructura misma del pensamiento surge de nuestra corporeización. Los mismos mecanismos cognitivos y neurales que permiten la percepción y el movimiento también crean nuestro sistema conceptual y el modo en que pensamos. La razón es evolutiva, y no nos separa del resto de animales, más bien, nos coloca en un continuo junto a ellos. El pensamiento abstracto, por tanto, se construye 8 sobre (y hace uso de) formas de inferencia motora y perceptual presentes en el cerebro primitivo. La razón no es universal, es decir, no forma parte de la estructura del universo; sin embargo, sí es universal en cuanto a que es una capacidad compartida universalmente por todos los seres humanos. La razón no es completamente consciente, sino mayormente inconsciente; y es inseparable de la emoción. ¿Qué queremos decir cuando afirmamos que los conceptos y el pensamiento son corporeizados? La categorización es una consecuencia inherente a nuestra biología: somos seres neurales, nuestro cerebro posee, aproximadamente, cien mil millones de neuronas y un billón de conexiones sinápticas. Así, el cerebro pasa información de un denso ensamblaje de neuronas a otro mediante un conjunto relativamente escaso de conexiones. Como el patrón de activación distribuido en el primer grupo de neuronas es demasiado grande para ser representado uno a uno en este escaso número de conexiones, éstas agrupan ciertos patrones input a través de mapeos en el ensamblaje output. Cada vez que un ensamblaje neural aporta el mismo output a parir de diferentes inputs, hay categorización neural. Nuestros procesos de categorización pueden ser conscientes, sin embargo, en su mayoría son inconscientes (Lakoff y Johnson, 1999). Decir que nuestra experiencia y percepción del mundo está mediada por nuestro sistema conceptual (lo que llamamos conceptos son estructuras neurales que nos permiten caracterizar mentalmente nuestras categorías y razonarlas), y que son fundamentalmente conceptuales por naturaleza, no es decir que el mundo real y sus propiedades no constituyen la naturaleza de nuestra experiencia. Al contrario, es el mundo real el que aporta el sustrato bruto de nuestras percepciones sensoriales y las conceptualizaciones que emergen de éstas. Así, las propiedades espaciales y físicas del mundo que percibimos son fundamentales para nuestra cognición (Tyler & Evans, 2003). La Teoría de la Corporeización ha permitido nuevos enfoques en, entre otros, los estudios literarios y la emergencia de la consciencia. Según Zunshine (2012), la comprensión cognitiva de la corporeización reintroduce “el cerebro humano evolutivo” en la crítica literaria y cultural, y posee potencial para enriquecer el estudio de los constructos discursivos y culturales que emanan de la cognición corporeizada. Por otro lado, en su estudio sobre la emergencia de la consciencia, Varela y Thompson (2001) 9 sugieren, utilizando las herramientas de las teorías de los sistemas dinámicos, que como resultado de una característica genérica de emergencia en los sistemas complejos podemos esperar relaciones recíprocas entre eventos neurales y la actividad consciente. Estos procesos cruciales de la consciencia también eliminan cualquier división cerebrocuerpo-mundo. Como hemos visto, nuestra mente es corporeizada tanto a nivel consciente como inconsciente. El nivel consciente o fenomenológico nos permite ser conscientes de nuestro cuerpo, sus pensamiento y acciones; el nivel inconsciente, por otro lado, involucra todos aquellos actividades de las que no nos damos cuenta, como los procesos neurales de transmisión de mensajes y el aprendizaje, que nos permiten pensar y actuar. 1.2 Modelos Cognitivos Idealizados. Una de las más importantes aportaciones de Fillmore (1975, 1977) y Lakoff (1982) en sus primeros trabajos sobre marcos y dominios conceptuales es que el conocimiento representado en el marco es en sí mismo una conceptualización de la experiencia (que en ocasiones no se corresponde con la realidad). Así, el significado es descrito en relación a modelos cognitivos idealizados (ICM, por sus siglas en inglés), también llamados dominios conceptuales, y no en relación a la realidad objetiva del mundo. Según Lakoff (1980, 1982) el ICM tiene las siguientes características: son ‘todos’ estructurados (gestalts), por tanto no necesariamente entran en contacto con otros ICM; están basados en categorías naturales (y no en categorías clásicas), por lo que poseen límites difusos, y están basados en aspectos experienciales de la psicología humana; y definen membrecías prototípicas de una categoría dada especificando las propiedades prototípicas (otros miembros menos prototípicos carecen de una o más de estas propiedades). Así, los ICM definen lo que tomamos como caso representativo entre los casos comparables, y proveen una forma convencional de abarcar la experiencia de una forma simplificada. 16 Según Mandler y Pagán (2014) existen tres estructuras cognitivas que no han sido diferenciadas hasta el momento: los primitivos espaciales, los esquemas-imagen y las integraciones esquemáticas. Según los investigadores, los primitivos espaciales son los primeros bloques conceptuales formados durante la infancia, los esquemas-imagen son historias espaciales construidas con los primeros, y las integraciones esquemáticas utilizan los dos primeros tipos para construir conceptos que incluyen elementos noespaciales, como fuerza o emoción. Gibbs y Colston (1995) apuntaron que los esquemas-imagen pueden ser definidos como representaciones análogas dinámicas de las relaciones espaciales y movimientos en el espacio. Aunque los esquemas-imagen se deriven de procesos perceptuales y motores, no son procesos sensoriomotores por sí mismos. Según señalan Mandler y Pagán (2014), para entender el origen de los esquemas-imagen, sin tener en cuenta el lenguaje que hace uso de ellos, es útil observar cómo es el entendimiento conceptual del mundo antes del lenguaje. Durante la infancia, se comienzan a conceptualizar oclusión y contención a los dos meses y medio (el acto de entrada y salida de un contenedor atrae más a los niños que los contenedores en sí mismos). Presumiblemente, los niños se siente atraídos por eventos de contención y oclusión porque los objetos que están viendo desaparecen de su vista: la gente sale de las habitaciones, los objetos se meten en cacerolas y armarios. Es posible que sea este acto de desaparición de objetos el que haga que los contenedores sean los primeros objetos que los niños conceptualizan. En cierto momento, los niños empiezan a verse a sí mismos como contenedores, aun sin hacer conexiones entre lo que entra y lo que es eliminado. Mandler y Pagán (2014) creen que esto explica las bases iniciales de la noción de que la cantidad es irrelevante para el contenedor (noción común en las metáforas lingüísticas de contención). 1.3.5 Esquema-imagen CONTAINER Según afirma Dewell (2005) la definición abstracta y estática de un contenedor como región limitada en el espacio, comúnmente aceptada en Lingüística Cognitiva, no 17 se corresponde con los esquemas-imagen formados durante la infancia, que primeramente atienden al movimiento dentro y fuera de los contenedores, en vez de preocuparse por regiones y límites. En el caso de los contenedores, encontramos muchas metáforas en las que es perfectamente aceptable que un objeto sea mayor que un contenedor (por ejemplo, un país puede estar en el corazón de alguien). También encontramos innumerables ejemplos en los que el objeto, el contenedor, o ambos carecen de talla o límites, o éstos simplemente no importan: puedes tener algo en tu bolsillo, el mundo entero en la mano, etc. En contraste, es complicado encontrar ejemplos que reviertan adentro y afuera, o casos en los que no importa si el objeto entra o sale del contenedor. Esto parece indicar que el esquema de contenedor mantiene algunas de sus características tempranas del desarrollo en la vida adulta, y que nuestras conceptualizaciones tempranas de experiencias de contención son más importantes para la formación de metáforas que generalizaciones abstractas como “región limitada en el espacio”. 1.3.6 Relaciones espaciales de CONTAINER y LOCATION Tal y como describen Tyler y Evans (2003) las relaciones espaciales están en el corazón de nuestro sistema conceptual, otorgando sentido al espacio que nos rodea. Sin embargo, no existen como entidades externas, no vemos relaciones espaciales como vemos objetos físicos – no vemos lejanía o proximidad, sino objetos que están lejos o cerca. Estas relaciones no son directas y simples, y varían considerablemente en las lenguas. Utilizamos los conceptos de relaciones espaciales de forma inconsciente: percibimos de forma automática una entidad en, encima, o a través de otra. Las relaciones espaciales elementales poseen una estructura interna consistente en un esquema-imagen, un perfil y una estructura de trayectoria (TR, por sus siglas en inglés) - punto de referencia (LM, por sus siglas en inglés). A continuación, ejemplificaremos estas relaciones según el esquema contenedor de Tyler y Evans (2003). 18 En inglés, in está formado por un esquema contenedor, un perfil que destaca el interior del esquema, y una estructura que identifica el límite del interior como el punto de referencia (LM), y el objeto en el interior como una trayectoria (TR). Según la lógica del esquema contenedor, dados dos contenedores A y B, y un objeto X, si A está en B y X está en A, entonces X está en B. El esquema contenedor, formado por un interior, un exterior y un límite, es una estructura gestalt, puesto que las partes no tienen sentido sin el todo. Por otro lado, el esquema origen-trayecto-meta presenta los siguientes elementos: un elemento que se mueve, una localización origen, una localización meta, una ruta, la trayectoria del propio movimiento, y la posición del elemento móvil en el tiempo. Este esquema es tipológico en el sentido de que una trayectoria puede ser expandida, comprimida y deformada y seguir siendo una trayectoria (porque estas trayectorias son imaginativas, no entidades del mundo exterior). Según la lógica del esquema origen-trayecto-meta: si seguimos una ruta hasta un lugar hemos estado en los lugares previos en la ruta; si vamos de A a B, y luego de B a C, hemos ido de A a C; si hay una ruta entre A y B y nos movemos hacia B, cada vez estaremos más cerca de B; si X e Y van por una ruta de A a B y X pasa a Y, X está más lejos de A y más cerca de B que Y; si X e Y salen de A al mismo tiempo y van por la misma ruta hacia B y X se mueve más rápido que Y, X llegará antes a B que Y. 1.4 Metáfora Conceptual y Blend Uno de los tratados más influyentes de la lingüística cognitiva, que ya hemos mencionado anteriormente en esta Tesis, es Metaphors we live de George Lakoff, donde se sientan las bases de la teoría de la Metáfora Conceptual. Lakoff, junto a otros lingüistas (Lakoff y Johnson 1980; Lakoff y Turner 1989; Lakoff 1987, 1993), extrae evidencia de expresiones lingüísticas convencionales cotidianas para argumentar la existencia de relaciones metafóricas o mapeos entre dominios conceptuales (o ICM) en la mente humana. Uno de los objetivos de esta teoría es señalar los mapeos metafóricos entre dominios, y cómo éstos guían el pensamiento y el comportamiento humano, como 19 queda reflejado en su aplicación en la Literatura (Lakoff y Turner, 1989), la Filosofía (Johnson, 1987; Lakoff y Johnson, 1999), las Matemáticas (Lakoff y Núñez, 2000), e incluso en Política (Lakoff 1996). Según esta teoría, en una metáfora conceptual entendemos un dominio en términos de otro: DOMINIO CONCEPTUAL (A) ES DOMINIO CONCEPTUAL (B). Estos dos dominios reciben el nombre de dominio origen y dominio meta. Ejemplos de dominio origen son: viaje, guerra, comida o plantas, y ejemplos de dominio meta son: ideas, teorías, amor o vida. Langacker (1987: 148) llama a los dominios enraizados en experiencias humanas directas dominios básicos, y a los no básicos, dominios abstractos. Una de las características más importantes de la metáfora conceptual es que incluso nuestro conocimiento más abstracto posee un enganche directo en nuestra experiencia humana. El núcleo central de la teoría de la metáfora conceptual se basa en que la metáfora no es una propiedad de las expresiones lingüísticas individuales y sus significados, sino de los dominios conceptuales. En principio, cualquier concepto de un dominio origen (donde reside el significado literal de la expresión) puede describir un concepto en el dominio meta. En palabras de Lakoff, respecto a la metáfora conceptual LOVE IS A JOURNEY: Lo que constituye la metáfora de el amor es un viaje no es una palabra en particular o una expresión, es el mapeo ontológico entre dominios conceptuales desde el dominio origen de los viajes al dominio meta del amor. La metáfora no es solo una característica del lenguaje, sino del pensamiento y la razón. El lenguaje es secundario. El mapeo es primario en cuanto a que el uso del lenguaje de los dominios origen es limitado, y crea patrones para los conceptos del dominio meta. El mapeo es convencional, ya que es una parte fija de nuestro sistema conceptual, una de las formas convencionales de conceptualizar las relaciones amorosas (traducción propia) (Lakoff, 1993: 208). Una metáfora convencional es, por tanto, un mapeo conceptual recurrente entre dos dominios. El mapeo es asimétrico: la expresión metafórica perfila una estructura conceptual en el dominio meta, no en el dominio origen. El mapeo entre dominios involucra dos tipos de correspondencias; epistémicas y ontológicas. Las correspondencias ontológicas se mantienen entre elementos de un dominio y elementos 20 de otro dominio; las correspondencias epistémicas son correspondencias entre relaciones de los elementos en un dominio y relaciones de elementos en otro dominio. Tal y como ejemplifica Lakoff (1987: 387) en la metáfora ANGER IS HEAT ON A FLUID, la correspondencia entre el dominio origen “heat of fluid” y el dominio meta “anger” es ontológica, mientras que la correspondencia entre “when fluid in a container is heated beyond a certain limit, pressure increases to point at which container explodes” y “when anger increases beyond a certain limit ‘pressure’ increases to point at which person loses control” es epistémica. Según el Principio de Invariancia, los esquemas-imagen que caracterizan a los dominios origen se mapean en dominios meta. Este mapeo metafórico preserva la topología cognitiva (la estructura del esquema imagen) del dominio origen, de una forma coherente con la estructura del dominio meta. Según Lakoff (citado en Geeraerts, 2006), el Principio de Invariancia no garantiza que, por ejemplo en el esquema CONTAINER, los interiores se mapeen en interiores, los exteriores en exteriores y los bordes en bordes. Por tanto, para entender correctamente el Principio, es importante no pensar en los mapeos como procesos algorítmicos que comienzan con una estructura de dominio origen y terminan con una estructura de dominio meta. En lugar de esto, debemos entender el Principio de Invariancia en términos de limitaciones en correspondencias fijas: los interiores del dominio origen se corresponden con los interiores del dominio meta, los exteriores del dominio origen se corresponden con los exteriores del dominio meta, etc. Por tanto, según Lakoff, la estructura del esquema imagen del dominio meta no puede ser violada: no existirán casos en los que, por ejemplo, el interior de un dominio origen sea mapeado en el exterior de un dominio meta. Además, según el Principio de Invariancia, la estructura inherente del dominio meta limita las posibilidades de los mapeos. Por ejemplo, en la metáfora ACTIONS ARE TRANSFERS, nuestro conocimiento inherente nos dice que las acciones no continúan existiendo después de ser realizadas (si, por ejemplo, le damos a alguien una patada, esa patada existe en el momento en que es dada). En dicha metáfora nuestras acciones son conceptualizadas como objetos que se transfieren de una persona a otra, pero sabemos (como parte de nuestro conocimiento sobre el dominio meta), que una acción no persiste tras ocurrir. Así, en el dominio origen existe la acción de dar (el que recibe el objeto lo posee tras serle dado), pero esto no puede ser mapeado en el dominio 21 meta ya que según su estructura inherente, este objeto no existe una vez terminada la acción. Aunque muchas metáforas convencionales (cotidianas) están basadas en la experiencia humana diaria, las metáforas novedosas no lo están (y algunas convencionales tampoco). Aunque Lakoff y Turner hablan de este tipo de metáforas, no describen cómo surgen. Croft y Cruse (2004) sugieren que incluso las metáforas convencionales requieren un blending de estructuras más ricas que la estructura del esquema-imagen entre dominio origen y dominio meta, y añaden que la diferencia entre metáfora convencional y metáfora novedosa es solo una diferencia de grado. Por esta razón, el estudio de metáforas novedosas, más complejas y creativas (como las encontradas en las narrativas) es de de vital importancia para entender la profundidad de la metáfora conceptual. Otra de las teorías fundamentales de la Lingüística Cognitiva es la teoría del Blending Conceptual (Fauconnier y Turner, 1996). Según Grady et al. (1999) el modelo del Blending no es rival de la teoría de la Metáfora Conceptual, sino que la presupone. Mientras que la Metáfora Conceptual opera con dos dominios y las correspondencias entre ellos, y es una estructura permanente, el Blending opera con cuatro espacios mentales que son estructuras representacionales parciales y temporales. Sin embargo, este último posee un elemento de convencionalidad, tal y como explican Fauconnier y Turner, “dinámicamente, los espacios input y los blends en construcción emplean estructura de estructuras conceptuales más estables, elaboradas y convencionales” (traducción propia) (1996: 115). Los espacios del Blending son como los dominios de la Metáfora Conceptual, pero más parciales. Añaden a estos dominios un espacio genérico que representa lo que el origen y el meta tienen en común, y un espacio blended, donde material conceptual seleccionado de los espacios mentales se combinan para formar una nueva estructura. Tal y como lo describen Grady et al., “en un blend metafórico, los equivalentes prominentes de los espacios input se proyectan en un elemento del espacio blended – se ‘fusionan’. Un solo elemento en el blend se corresponde con un elemento en cada uno de los espacios” (1999: 114, traducción propia). 22 Sin embargo, y como característica más importante, el espacio blended no solo contiene una selección de propiedades de cada dominio input: también contiene nuevo material conceptual surgido de una elaboración del blend en base al conocimiento enciclopédico. 1.5 La hipótesis de los marcadores somáticos I could kill you sure, but I could only make you cry with these words. Belle and Sebastian Durante los últimos años, las emociones han sido el foco de estudio de muchas disciplinas, especialmente, de la neurociencia (que sin embargo no las tuvo tan en cuenta en el pasado). Creemos que el desarrollo de la recién llegada Neurociencia Afectiva es clave para entender la motivación humana en todas las dimensiones de su existencia. Las emociones son un factor mayor en la interacción entre condiciones medioambientales y procesos de decisión humana, con sistemas emocionales (que subyacen la activación de estados somáticos) que proveen de valioso conocimiento implícito o explícito a la hora de tomar decisiones rápidas y ventajosas. Así, la implicación de los marcadores somáticos en la toma de decisiones está anclada en la parte emocional humana (Bechara, 2004). Según el neurobiólogo Antonio Damasio (1994, 1999, 2003) las emociones se corresponden con grupos específicos de cambios en el cuerpo y el cerebro. Cada emoción es evocada por la percepción e influida por pensamientos o recuerdos. Los cambios en el cuerpo, llamados somáticos o estados corporales, pueden incluir cambios en la expresión facial, la postura, las hormonas, los latidos del corazón y la contracción muscular. Por su parte, los cambios cerebrales se corresponden con descargas de neurotransmisores como la serotonina, la noradrenalina y la acetilcolina. Estos cambios incluyen también representaciones mentales de los cambios corporales; estas representaciones están codificadas o clasificadas de forma tosca en el complejo 23 despliegue de cambios fisiológicos, y cada código o señal se corresponde con un patrón específico de estados corporales. Las representaciones mentales de los cambios corporales provocan una experiencia subjetiva o sentimiento. La ira, por ejemplo, puede provocar una representación mental que marque que el riego sanguíneo ha aumentado en la parte superior del cuerpo, y otros estados corporales, sin codificar cada cambio somático. Los cambios corporales tras las emociones pueden ser evocados por dos tipos de objetos y eventos: inductores primarios y secundarios (Damasio, 1995). Los inductores primarios provocan estados placenteros o desagradables (el inductor puede ser, desde una serpiente, hasta la solución de un problema). Los inductores secundarios son pensamientos o recuerdos de un inductor primario; cuando evocamos estos pensamientos o recuerdos provocamos sus correspondientes estados somáticos. La vía de los inductores primarios es la amígdala (diversos estudios han señalado que cuando esta región está dañada la respuesta somática es limitada). Los objetos o eventos emocionales son procesados de forma inconsciente (por circuitos que incluyen el tálamo) o de forma consciente (por circuitos que incluyen regiones sensoriales y asociativas de la corteza). Por otro lado, la vía de los inductores secundarios es la corteza prefrontal ventromedial (cuando esta región está dañada, los sentimientos subjetivos en respuesta a recuerdos emocionales disminuyen). Cuando los seres humanos necesitan decidir entre dos alternativas, la información sobre éstas es recibida en la corteza prefrontal ventromedial. Esta región transmite entonces un output al hipotálamo y otras estructuras que generan estados somáticos. Estos estados somáticos pueden afectarnos de varias formas: destacando los sentimientos ante una experiencia individual, aumentando o disminuyendo el umbral para activar estos estados en el futuro, o influyendo en regiones asociadas con la memoria de trabajo. Bechara (2005) destaca que, en general, las emociones influyen en la memoria de trabajo y las decisiones para mejorar comportamientos. Así, las decisiones pueden incorporar la experiencia previa y sus respuestas placenteras, o negativas, y sensaciones. Estudios futuros en el campo de la Neurociencia Afectiva, en conjunción con otras disciplinas, como la Neuroestética o la Biopoética, podrían enriquecer de forma 24 notable nuestro conocimiento sobre la integración de las emociones en modelos del significado, la emergencia emocional en el arte, o la experiencia estética de la lectura de un texto literario. 1.6 Biopoética Como hemos visto hasta ahora, para las Ciencias Cognitivas el lenguaje es una manifestación clave de los mecanismos de la mente, y se basa en los mismos principios que operan en todo el sistema. Hay una continuidad, por ejemplo, entre cómo comprendemos los fonemas y cómo comprendemos la sintaxis; entre la forma en la que aprendemos a manipular objetos en el espacio y la forma en que aprendemos a utilizar el lenguaje para influir en otras personas; entre cómo nos movemos en una habitación y cómo leemos un texto. En otras palabras, el lenguaje no es modular; lenguaje y cognición, como hemos dicho anteriormente, no pueden ser separados, la literatura y la conversación natural se encuentran en un continuo, el uno con el otro (Turner, 1996; Stockwell, 2009). La Biopoética integra estudios de sistemas semióticos complejos, como el literario, psicología evolutiva y ciencias cognitivas, desde el marco teórico esencialmente dinamicista de las ciencias de la complejidad. Uno de sus objetivos es explicar cómo las narrativas surgen de (y refuerzan) los rasgos adaptativos del ser humano. Tal y como afirma Marshall (2013) la universalidad de las narrativas sugiere un importante objetivo adaptativo en la evolución humana. Algunas de las hipótesis al respecto sugieren que las narrativas nos preparan para situaciones concretas, nos aportan la habilidad de predecir o entender los pensamientos, sentimientos, motivos y reacciones de los demás (lo que los psicólogos llaman teoría de la mente) y de comprender que otros pueden percibir algo de forma diferente a nosotros. El hecho de comprender que otros pueden no percibir algo como lo hacemos nosotros es una complejísima y sofisticada operación mental, y las narrativas nos entrenan en la noción de que muchos malentendidos y disonancias surgen de este hecho. Por tanto, las narrativas cumplen con nuestras necesidades como especie ultra-social, 25 ayudándonos a manejar las abundantes interacciones interpersonales de nuestra vida diaria. Así, y tal y como afirma Guerra (2011) la importancia de la Biopoética radica en que es una teoría primordial de la metacognición. La Biopoética tiene como objetivo investigar la morfodinámica del lenguaje natural y artístico, y de cualquier sistema semiótico, como sistema complejo adaptativo bio-social. Paradójicamente, en esta evolución biocultural, académicos y artistas se encuentran situados experiencialmente en un andamiaje metacognitivo; en palabras de Guerra “we are what we make as ‘us’, more properly, I am what I make as ‘us’” (Guerra, 2011: 849). 32 observación; esto cambió abruptamente durante la segunda mitad del siglo. En campos como la Física, las Matemáticas, la Meteorología y la Biología, el foco de atención cambió al integrar las variaciones erráticas como estructuras profundas de orden dentro del desorden (Hayles, 1990). La teoría de la corporeización incluye este relativismo reconociendo que los conceptos cambian en el tiempo, varían según la cultura, poseen múltiples estructuras inconsistentes y reflejan condiciones sociales; y ofrece mecanismos para caracterizar estos cambios, como la formación de metáforas complejas y otros blends conceptuales (Lakoff and Johnson, 1999). En palabras de Guerra (1992): Si logramos establecer una cierta coherencia en la manifestación (...) de una poética de la imprecisión en un estudio en base a la modelización científica de ese proceso que explora e1 tiempo creativo, creemos que habremos conseguido una nueva mirada sobre una poesía (principalmente la postmodernista) en la que lo aleatorio está siempre en acción, en la que imperan las fascinaciones de la turbulencia y en la que vuelve a instalarse la indefinición, ya que el desorden no se delimita. Las transformaciones que tuvieron lugar durante la segunda mitad del siglo XX hicieron necesaria una nueva aproximación metodológica a los sistemas complejos – sin olvidar que la sociedad misma es también un sistema complejo. Las narrativas comparten también, por tanto, este ciclo, “for they too were affected by technology at the same time that they were affecting it” (Hayles, 1990: 14). De este giro hacia el desorden compartido por la ciencia y la literatura son ejemplos las narrativas de Don DeLillo, Donald Barthelme, John Barth, Robert Coover y Thomas Pynchon. La narrativa postmoderna es el reflejo de la tensión entre ciencia y arte, el proceso de escritura deviene un arrancar del lenguaje algo pre-lingüístico, un estado de alerta ante el inconsciente desde el consciente. Como nunca antes, la búsqueda ante la pérdida, el tiempo, el amor y la muerte, vive en, y a su vez construye, una maraña sin puntos de referencia o metas. Las certezas añaden más desorden al caos, “postmodern narratives (…) are often arbitrary and indeterminate. They reveal a delight in disorder, discontinuity, and ambiguity and a correspondingly cavalier attitude toward the conventions of coherent plot, realistic 33 characterization, and clearly identifiable settings. Both time and space in the postmodern novel can be unstable and incomprehensible” (Palmer, 2011: 275). Las narrativas postmodernas no intentan describir un sistema atomizado, sino observar su propia interacción con este y reaccionar ante los cambios producidos tras esta observación. Este movimiento de autopoiesis debe su continuo cambio a la constante entrada, salida (y pérdida) de información producida por el contacto con su entorno. Esta interacción establece que la distinción entre dentro y fuera es algo no solo frágil, sino indeseable (Baetens, 2004). Con la llegada de la revolución tecnológica, la información se ha convertido en un ente casi amenazador, con tiempos cada vez más cortos en la velocidad de transmisión de la información (las innovaciones en el campo de la fotónica a finales del siglo XX constituyeron la revolución tecnológica que establecería los cimientos de internet) y la necesidad de fórmulas más complejas para su procesamiento. Junto con las nuevas capacidades de los sistemas de comunicación modernos surgió la certeza de que fluctuaciones pequeñas a microescala pueden, bajo las condiciones adecuadas, propagarse rápidamente a través del sistema resultando en inestabilidades y reorganizaciones a mayor escala. De esta forma, la atención recayó sobre las fluctuaciones aleatorias y, en consecuencia, sobre el papel que juega el caos en la evolución de los sistemas complejos (Hayles, 1990). En este contexto, la experiencia del entorno deviene abstracción: Abstraction in fact is a manner of negation, negation of accustomed notions of reality and truth that now themselves have been revealed as abstractions. It is also the negation of the (traditional) forms of the narrated situation, of its being centered in the character. It opens the situation to force, the dynamics of chaos and flow and the uncertainty of the gap and the void. In contrast to the modernist texts of, for instance, Joyce, Virginia Woolf, D. H. Lawrence, postmodern narrative abstraction does not only affect the character. It is “abstracted” because it comes to represent attitudes, aspects of experiencing the world. In postmodern narrative, abstraction now reaches the narrated situation itself. (Hoffmann, 2005: 249). La narrativización postmoderna, especialmente en Thomas Pynchon, abarca la relación entre las ideas de fuerza y forma, la noción de lo aleatorio y lo estructurado, lo abierto y lo cerrado, la circularidad o repetición o el esfuerzo humano para otorgar 34 significado a la (no) linealidad de la vida. La estrategia narrativa más importante en la problemática entre fuerza y forma ha sido siempre el argumento. En el postmodernismo, éste es impuesto u omitido - lo cual en Pynchon es la misma cosa, ya que el resultado en ambos casos es arbitrario (Hoffmann, 2005: 304). La mente postmoderna surge con la idea, desde prácticamente todos los ámbitos del conocimiento, de que la dimensión de la existencia es no lineal (de ahí el cinismo, la ironía, lo absurdo, el futuro incierto, lo inconsistente, la contradicción). La ciencia postmoderna del caos y la complejidad apoya la idea de que cierta cantidad de desorden es esencial para todos los sistemas adaptativos complejos, y que el cambio es inseparable de la experiencia humana. Por tanto, las Teorías del Caos proporcionan una elegante base empírica para modelizar la variedad, la diferencia, la contrariedad y el cambio (R. Young, 1999). 2.4 Complejidad. Las Teorías del Caos hablan de un caos determinista, por paradójico que parezca; puesto que hay orden en el desorden, existe una profunda aunque, en ocasiones, imprecisa conexión entre todos los sistemas a todos los niveles de su dinámica. Según Gregersen (2003) existen, sin embargo, diferencias entre las Teorías del Caos y las Teorías de la Complejidad. Los estudios de la complejidad tratan de entender los principios que guían los sistemas complejos para tratar de explicar cómo se auto-organizan las estructuras ordenadas sin un control consciente que organice el proceso. Estas estructuras surgen, se mantienen y se desarrollan en un proceso conducido por agentes locales dentro del sistema, los giros y distorsiones de este agente producen, con mucha frecuencia, consecuencias que afectan a todo el sistema. Las Teorías de la Complejidad intentan comprender estas reglas de propagaciones de orden en sistemas del ‘mundo real’, tanto naturales como sociales. Tanto la investigación sobre la complejidad como las Teorías del Caos tratan de procesos no lineales en los que pequeños y simples inputs pueden generar outputs mayores y complejos. No obstante, mientras que las distintas trayectorias de los sistemas caóticos son altamente contingentes ante los valores exactos 35 de las condiciones iniciales, los sistemas complejos auto-organizados pueden surgir de una amplia variación de condiciones iniciales. ¿Qué queremos decir con la no-linealidad de un sistema? Dicho de una forma simple, a efectos particulares no se pueden asignar componentes causales particulares porque todos los componentes interactúan unos con otros. Los niveles más altos de los sistemas complejos auto-organizados, a pesar de surgir de condiciones iniciales locales y simples - “never ignoring, of course, the ‘bottom-up’ effects of parts on wholes which depend for their properties on the parts being what they are” (Peacocke, 2003: 191) – continúan influyendo en los niveles más bajos, y éstos sobre los demás. De esta manera, el todo es mayor que la suma de las partes. En The Way We Think (2002), Turner y Fauconnier atribuyen esta característica a la emergencia de significado en el modelo de integración del blend, así, los significados son los productos imaginativos del blending, ya sea simple o complejo, y no son predecibles en las formas que los evocan. Los esquemas de mapeo, sin embargo, son predecibles en las formas del lenguaje utilizadas para evocarlos. El significado del ‘todo’ no es predecible a partir del significado de las partes, pero el esquema de mapeo del ‘todo’ es predecible a partir de los esquemas de mapeo de las partes. Este aspecto composicional de las formas es una característica excepcionalmente ingeniosa, útil, y eficiente de las formas que guían el significado. Los seres vivos están organizados como jerarquías dinámicas inmensamente complejas, donde la inmensidad se define en un número infinito de posibilidades, demasiado amplio para abarcarlo, y cuyo carácter complejo implica que no pueden ser modelizados de forma reduccionista. Las jerarquías biológicas alcanzan estas inmensas complejidades a través de procesos de emergencia caótica (Scott, 2007). El período postmoderno está estrechamente ligado a esta inconmensurable amplitud que es vivir: la dimensión no lineal de la existencia. El carácter no predecible de los sistemas dinámicos y la inhabilidad para determinar o establecer un origen estable, marcan la literatura postmoderna y, como hemos dicho, este giro paradigmático hacia el desorden fue análogo en la literatura y en las ciencias (Guerra, 1992). Según afirma Katherine Hayles (1990), existen dos focos de énfasis en las Teorías del Caos que tratan de sistemas complejos auto-organizados. Por un lado, el caos es precursor del orden, y no lo contrario: del caos brota emergencia espontánea, 36 estructuras disipativas que surgen de sistemas alejados del equilibrio (Prigogine y Stengers, 1984). En palabras de Lotman (1990), “Self-organization processes in farfrom-equilibrium conditions correspond to a delicate interplay between chance and necessity, between fluctuations and deterministic laws. We expect that near a bifurcation, fluctuations or random elements would play an important role, while between bifurcations the deterministic aspects would become dominant”. El descubrimiento de que los sistemas ricos en entropía facilitan, y no dificultan, la autoorganización, supuso un giro de gran importancia en la reevaluación contemporánea del caos. Siguiendo a Guerra (1992), Morales (2015:140) lo expresa con claridad: “Uno de los razonamientos más importantes de Prigogine fue que apuntó que existían dos caras de la entropía, la primera que refleja los cambios entre el sistema y el mundo exterior, y la segunda que describe cuánta entropía se produce dentro del propio sistema. Esto lleva a que los sistemas alejados del equilibrio experimenten una disminución local o focalizada de la entropía que, según Prigogine, se manifiesta en un aumento dramático en la organización interna, es decir, en una conexión entre procesos de autoorganización y producción (Hayles 1990)”. Por otro lado, el énfasis se centra en el orden escondido de los sistemas caóticos. El caos se diferencia de la arbitrariedad real en que el primero contiene estructuras de codificación profunda llamadas atractores extraños. Donde los sistemas de arbitrariedad real muestras patrones no discernibles al ser mapeados en el espacio fásico, los sistemas caóticos trazan en él patrones complejos. Para Guerra (2010), el texto como sistema complejo adaptativo es la unidad más rica en información y affordances. Por tanto, el alto orden de complejidad del texto puede ser visto como una motivación biocultural cognitiva para investigar la compleja poética humana como Ciencias de la Vida (nicho dinamicista que ocupa ahora, tras su surgimiento en la segunda revolución de las Ciencias Cognitivas, la Biopoética). 2.5 Sistemas disipativos. El concepto de estructuras disipativas (Nicolis y Prigogine, 1977) define aquellas estructuras que pueden emerger a través de fluctuaciones alejadas del 37 equilibrio. En la Teoría del Caos, la circunstancia más normal en la que existen los sistemas dinámicos es precisamente en un estado de condiciones alejadas del equilibrio. Estas condiciones posibilitan el desarrollo de las estructuras disipativas que, como hemos mencionado anteriormente, hacen referencia a las condiciones o estados en los que el sistema se comporta y tiende hacia la auto-organización espontánea. A su vez, las estructuras disipativas gravitan en torno al orden (estructura) y el desorden (disipación), se encuentran en un perpetuo estado de transformación y emergencia y, de esta manera, vencen al equilibrio y las condiciones estáticas. Esencialmente, las estructuras disipativas están abiertas al flujo, la oportunidad, la espontaneidad, la aleatoriedad y lo impredecible (R.Young, 1999: 90). En un texto postmoderno, que tiende al desorden, el lector debe hacer elecciones performativas (elecciones que constituirán el significado y la estructura del texto). Esta apertura desordenada del texto contiene potencial para crear nuevas proyecciones ordenadas (con un orden relativo): esta presencia del desorden controlado define a las estructuras disipativas. Las estructuras disipativas requieren más energía que las estables (las que llegan a un punto de no desarrollo) - en su interacción con el entorno, estas estructuras disipativas tienden a la auto-organización. Las narrativas postmodernas, como hemos dicho, se caracterizan por ser sistemas abiertos, inestables y de alta producción entrópica; de esta forma, demandan una continua interacción con el lector en condiciones de gran esfuerzo4 (de ahí que muchos lectores hablen de la ‘dificultad’ de este tipo de narrativas). Guerra (2011: 846) lo resume así: “Being the richest unit in information and affordances, a text as a complex adaptative system (Guerra 1992) implements the essential communicative (evaluative and symbolic) process with more creative complexity when activated by any new agent due to a more intense interaction of elements and forces (matter and energy) with the environment”. Es precisamente por este continuo cambio y ‘lucha’ que las narrativas posmodernas son capaces de auto-organizarse (Conte, 2002). Las elecciones performativas del lector - quien ‘activa’ el texto - establecen bifurcaciones que, a su vez, vuelven a bifurcarse. Estas bifurcaciones suelen ir precedidas de crisis en la que una mayor cantidad de energía es necesaria para 4 Estudios recientes, realizados con fMRI, sobre el discurso poético (Zeman et al. 2013) señalan que los textos literarios más complejos presentan una mayor actividad cerebral. 38 continuar. Cuando se establece la bifurcación, el sistema se abre, confundiendo sus límites con el entorno, con el fin de obtener la energía necesaria para sostener su desarrollo y exportar entropía o desorden. Este proceso convierte al sistema en disipativo, ya que está obteniendo energía útil y expulsando aquella que es ineficiente. De esta forma, el sistema adopta una dinámica eficiente ante condiciones inestables, y el propio proceso aumenta la entropía (Oliver, 1992) debilitando las estructuras existentes y promoviendo la inestabilidad. En el punto de bifurcación, el equilibrio es destruido dando lugar al caos. Es en este momento cuando surgen nuevos esquemas dinámicos asociados con viejas y nuevas estructuras: en este entorno caótico, nuevos arquetipos comienzan a tomar forma, en presencia de una retroalimentación negativa que continúa ejerciendo presión para revertir el nuevo estado. Se sucede entonces un comportamiento ‘esquizoide’ (Greenwood y Hinings, 1988) pero, tras la transformación, el nuevo arquetipo prevalece (sujeto a las nuevas bifurcaciones que lo habitan). En palabras de Hayles, “for those who live postmodernism (…) the denaturing of time means that they have no history. To live postmodernism is to live as schizophrenics are said to do, in a world of disconnected present moments that jostle one another but never form a continuous (much less logical) progression” (Hayles 1990: 282). 2.6 Creatividad. 2.6.1 La esquizofrenia del postmodernismo. Para Jameson (1991) la esquizofrenia de la mente postmoderna es la experiencia del tiempo, no como un continuo (pasado-presente-futuro), sino como un presente perpetuo marcado por la ocasional intrusión del pasado o de la posibilidad de un futuro. Precisamente, esta base temporal de la creatividad de las disipaciones y esta característica fundamental de uso (producción/consumo) en curso que unifica todo en un presente abierto, es lo que hace del texto posmodernista un corpus prodigioso para el análisis cognitivo. La ‘recompensa’ de esta nueva forma de experimentar el tiempo es 39 una sensación intensificada de presente, entendido como atemporal, que conecta fenomenológicamente con el no-lugar de Mark Augé (Guerra y Morales, de próxima publicación). Decir que la cultura postmoderna es esquizofrénica es afirmar que ha perdido su sentido histórico. De esta forma, la cultura temporal del modernismo ha dado paso a la cultura espacial del postmodernismo y su continuo flujo de presentes perpetuos. Siguiendo a Guerra (1992), proponemos aquí retomar la idea de “tiempos encontrados” de Prigogine y Stengers, como base de la creatividad de todo sistema complejo. La poética postmoderna es una plétora de discursos inconmensurables. De ahí, que las características utilizadas para describir los desórdenes lingüísticos de la esquizofrenia se apliquen a aquellas del postmodernismo: desorden temporal, imitación involuntaria de otras voces (pastiche), fragmentación, imprecisión en las asociaciones, paranoia y la creación de círculos viciosos. La esquizofrenia puede ser entendida como un desorden del significado: It is an illness that transforms the commonplace into the supernatural. A radio announcer's mundane chatter evolves into cryptic but strikingly personal references aimed at the listener. Newspaper headlines no longer disclose the private failings of politicians and film stars; they communicate the inner life, the biography, of the person with schizophrenia. To the delusional mind, the eyes of strangers in the street confirm conspiracies, challenge secrets, and dispute innocence. Dates in calendars now signal calamities or ratify mythologies. Coincidence is misinterpreted as causation; the irrelevant shouts with significance. What was once trivial is now monumental. The illness appears to construct meaning where there is none and to do so with such virtuosity that psychosis has been mistaken for creativity. Then, after the storm, a strange reversal often takes place: the madness recedes and leaves a profound vacancy of meaning in its wake. It leaves a mind of impoverished thought, diminished action, empty language, and sparse emotion, a mind devoid of imagination and interest. It is as though the very intensity of psychotic experience both generates and then extinguishes all meaning (Heinrichs 2001: 119). No hay duda al leer las características de la esquizofrenia de que ésta invade las narrativas postmodernas (la sucesión de descripciones de la percepción de la ‘realidad’ 40 de la mente esquizofrénica coinciden significativamente con la de Oedipa Maas en The Crying of Lot 49). Por supuesto, se trata solo de una metáfora; en la mente postmoderna la acción, el lenguaje y la imaginación continúan presentes tras la ‘tormenta’, el significado adquiere robustez biocultural, se genera y se bifurca para emerger novedoso, no se extingue. Es cierto que escritores modernistas como James Joyce, Virginia Woolf y Marcel Proust experimentaron también con las distorsiones del tiempo narrativo y la fragmentación; sin embargo, sus motivaciones eran diferentes. Para los críticos literarios, la motivación del modernismo es un intento de proteger la cultura del caos del cambio tecnológico y la incertidumbre de la Primera Guerra Mundial; mediante un giro introspectivo, la coherencia o significado residían en el mundo psicológico de la mente. Tras la Segunda Guerra Mundial, el discurso postmoderno dejó de creer en valores sociales (irrecuperables tras el Holocausto). La lucha por recuperar anclajes sociales sólidos acabó dando paso a una exploración del delirio (Lewis, 1999). 2.6.2 Morfogénesis René Thom desarrolló la teoría de catástrofes en su trabajo Stabilité structurelle et morphogenèse (1972), donde establece que si las teorías del caos pueden modelizar cambios catastróficos en las formas (lo que Thom llama morfogénesis) a nivel abstracto y formal, los sistemas caóticos pueden corporeizarse en el nivel material. Ante este caos determinista que enfatiza la predictibilidad, la emergencia de comportamiento caótico introduce novedad - e incluso cuestiona a leyes físicas, como la segunda ley de la termodinámica, su aplicabilidad universal. Thom aplicó su concepto de morfogénesis de las matemáticas a otras ciencias humanas (lingüística, semiótica, sociología y antropología). Desde que Bernard Pottier iniciara su interpretación de la teoría de Thom, otros investigadores se han acercado a la teoría morfogenética, como Jean Petitot en Francia o Wolfgang Wildgen en Alemania. En Dinamarca, Svend Østergaard ha establecido, en The Mathematics of Meaning (1997), paralelismos entre la obra de Borges y Proust y propiedades matemáticas como el infinito. Por otro lado, en España, Enrique Bernárdez ha tratado la autorregulación en 41 sistemas cognitivos en su estudio Teoría y epistemología del texto (1995); y Ángel López García, en Fundamentos genéticos del lenguaje (2002), ha defendido que el concepto de evolución subyace a los principios innatos que regulan la base formal del lenguaje, mientras que el de salto cualitativo (proceso catastrófico), lo hace en aquellas características propias del ser humano como la capacidad cognitiva de desplazamiento, y aquellas que identifican al lenguaje como algo específico del ser humano, como su función simbólica. Según Sim (1999), cuando las ciencias humanas fueron susceptibles de matematicalización a través de las teorías del caos, la teoría de la morfogénesis sufrió un giro postmoderno: la ciencia moderna ya no puede encargarse de la investigación total de la auténtica naturaleza de la realidad, por lo que su pretensión de universalidad y objetividad pierde su fuerza. Ante la teoría de Thom, surgieron muchos detractores y críticos que dudaban de su aplicabilidad. Tras ello, la teoría de catástrofes se dividió en dos ramas: teoría de catástrofes aplicada y teoría de catástrofes elementales. La primera consiste en la aplicación de la teoría de catástrofes elementales a fenómenos cuya evolución está determinada por una función de tipo potencial, que depende de unas variables de estado interno y de unos parámetros de control (Outerelo Domínguez, 2000). La teoría de catástrofes elementales forma parte de las teorías de la bifurcación, y su objetivo es probar el teorema de Thom. Este teorema admite solo un número finito de posibilidades con un número de singularidades pequeño, por lo que las catástrofes elementales serían estructuras estables (su geometría no sufriría cambios relevantes al perturbar la función de energía). “Este hecho revela su importancia si consideramos que todo fenómeno que ocurra con suficiente regularidad como para ser identificado como tal, debe poseer algún tipo de estabilidad propia ante las pequeñas perturbaciones que ocurren en su medio ambiente” (Carrillo, 2012: 64). Thom afirma que la evolución de la informática junto con las matemáticas puede hacer posible la aplicación del teorema abarcando un número mayor de sistemas. Así, tras el fin de la era de la síntesis cósmica, la ciencia se vuelve postmodernamente local: las herramientas analíticas y los modelos matemáticos permanecen pero, junto a ellas, emergen islas de indeterminismo local. Desaparecido el afán reduccionista de modelizar la realidad de manera única y estable, Thom afirma 48 49 Parte III Integración conceptual en The Crying of Lot 49 But a few choosing to venture deeper into the painful corridors of their affliction, found after a while that they could now grind and polish ever more exotic surfaces, hyperboloidial and even stranger, eventually including what we must term ‘imaginary’ shapes (which some preferred to term invisible. Against the Day, Thomas Pynchon 3.0 Introducción Tal y como explican Gilles Faucconier y Mark Turner en The Way We Think (2003), el ser humano posee las habilidades más efectivas para la construcción de significado y, por tanto, las formas más elaboradas (lenguaje, arte, música, matemáticas). Por sí mismas estas formas están huecas, lo que contienen es una fuerza potencial que puede ser desplegada dinámica e imaginativamente. Tras la forma reside el poder humano para construir significado, y las operaciones que se encuentran en el corazón de cualquier significado son identidad, integración e imaginación. La identidad consiste en reconocer similitud o equivalencia, es un gran trabajo inconsciente imaginativo y complejo; identidad y oposición, similitud y diferencia, son accesibles a través de la consciencia tras un trabajo elaborado. La integración consiste en encontrar identidades y oposiciones, es parte de un proceso mucho más complicado de integración conceptual, que posee elaboradas propiedades dinámicas y estructurales y restricciones operacionales. Identidad e integración no pueden por sí mismas explicar el significado sin la imaginación. Incluso en ausencia de estímulos externos, el cerebro puede llevar a cabo simulaciones imaginativas: los procesos imaginativos están siempre en funcionamiento, hasta en las construcciones más simples del significado (Fauconnier & Turner 2003, págs. 5-6). De hecho, según Burke (2015), estos procesos están activos durante todas la fases del ‘literary reading loop’ (LRL), esto es, durante la pre-lectura, 50 lectura, post-lectura y no-lectura de un texto literario5. Según la teoría de la ‘cognición oceánica’ de Burke, el proceso de lectura de un texto literario destaca la relevancia de la ‘cognición afectiva’ inconsciente y la memoria implícita (que tienen lugar junto a las más conscientes ‘emoción cognitiva’ y memoria explícita). Los tipos de integración propuestos en The Way We Think (2003) son la red simple (en integraciones como ‘Paul es el padre de Sally’); la red espejo, en la que los espacios input, generic y blend comparten un marco organizador; las redes de alcance único en las que los inputs poseen marcos organizadores diferentes (prototípicas de las metáforas conceptuales dominio origen – dominio meta); y las redes de doble alcance, de inputs con diferentes marcos organizadores y un marco organizador para el blend que incluye partes de todos los inputs así como una estructura emergente propia. Los modelos de integración del significado actúan bajo la premisa de que el significado no reside en el lenguaje, sino que accedemos al primero a partir del segundo. Así, el lenguaje es el producto, no de un sistema estructural separado en el cerebro, sino de los procesos cognitivos generales que permiten a la mente humana conceptualizar experiencia, procesos que los lingüistas cognitivos llaman comprensión corporeizada (Johnson 1987). De esta forma, los modelos de la metáfora conceptual y el blend ofrecen la base de una teoría de la literatura enraizada en la lingüística cognitiva. Tal y como afirma Freeman (en Barcelona, 2000), los textos literarios son los productos de las mentes cognoscitivas y su interpretación los productos de otras mentes cognoscitivas en el contexto de los mundos físicos y socioculturales en los que han sido creados y leídos. Por tanto, la poética cognitiva es una valiosa herramienta para hacer explícitos nuestros procesos de razonamiento y para iluminar la estructura y contenido de los textos literarios. En nuestro análisis de The Crying of Lot 49, las metáforas conceptuales y blends señalan nuestra habilidad para el mapeo cognitivo, que crea diferentes niveles de identificación a través de diferentes dominios conceptuales. 5 La pre-lectura es el periodo justo antes de que comencemos a leer, la post-lectura el momento justo después, y la no-lectura el tiempo entre lecturas, en el que normalmente realizamos otras acciones (Burke 2015). 51 3.1 Metáforas conceptuales en The Crying of Lot 49 A continuación, presentamos las metáforas conceptuales seleccionadas, en mayúsculas, y el párrafo donde podemos encontrar la expresión lingüística metafórica correspondiente, en cursiva. La selección se ha llevado a cabo eligiendo las partes de la novela más significativas en cuanto a su evolución creativa, centrándonos así en los momentos clave de la emergencia de significado. En los párrafos restantes las metáforas conceptuales se repiten afianzando las ya señaladas, de forma que las metáforas conceptuales seleccionadas son significativas y ubicuas en todo el texto. Las metáforas han sido numeradas con el fin de ofrecer un acceso más rápido, en el análisis, a la expresión lingüística metafórica que las acompaña. La edición de la novela utilizada fue editada por Vintage en el año 1996. La edición original fue publicada en 1966. Capítulo uno 1. THINKING IS MOVING ALONG A PATH 2. REMEMBERING IS MOVING BACK ALONG A PATH Oedipa had been named also to execute the will in a codicil dated a year ago. She tried to think back to whether anything unusual had happened around then. (pág.5) 3. DAYS ARE CARDS YOU SHUFFLE BACK 4. DAYS ARE IDENTICAL CARDS POINTING THE SAME WAY into the mixing of the twilight's whiskey sours against the arrival of her husband, Wendell ("Mucho") Maas from work, she wondered, wondered, shuffling back through a fat deckful of days which seemed (wouldn't she be first to admit it?) more or less identical, or all pointing the same way subtly like a conjurer's deck, any odd one readily clear to a trained eye. (pág.6) 5. BEING FORGOTTEN IS OUT OF A CONTAINER 52 That phone line could have pointed any direction, been any length. Its quiet ambiguity shifted over, in the months after the call, to what had been revived: memories of his face, body, things he'd given her, things she had now and then pretended not to have heard him say. It took him over, and to the verge of being forgotten. (pág. 6) 6. CRISIS IS BEING DOWN IN THE BOTTOM OF A CONTAINER 7. PANIC IS A LOCATION 8. CONTROL IS A POSSESSION He was a disk jockey who worked further along the Peninsula and suffered regular crises of conscience out his profession. "I don't believe in any of it, Oed," he could usually get out. "I try, I truly can't," way down there, further down perhaps than she could reach, so that such times often brought her near panic. It might have been the sight of her so about to lose control that seemed to bring him back up. (pág.7) 9. MEMORY (REVELATION ABOUT) IS AN OBJECT 10. MEMORY (REVELATION ABOUT) IS AN OBJECT OUTSIDE A CONTAINER 11. MEMORY (SENSE OF) IS A COMPUTER 12. ROLE IS A CONTAINER 13. KINNERET IS A PRISON As things developed, she was to have all manner of revelations. Hardly about Pierce Inveracity, or herself; but about what remained yet had somehow, before this, stayed away. There had hung the sense of buffering, insulation, she had noticed the absence of intensity, as if watching a movie, just perceptibly out of focus, that the projectionist refused to fix. And had also gently conned herself into the curious, Rapunzel-like role of a pensive girl somehow, magically, prisoner among the pines and salt fogs of Kinneret, looking for somebody to say hey, let down your hair. (pág.12) 14. BEGINNING A RELATIONSHIP IS GOING INTO A BUILDING 15. MEMORY (OF A LOVE RELATIONSHIP) IS AN OBJECT INSIDE A BUILDING When it turned out to be Pierce she'd happily pulled out the pins and curlers and down it tumbled in its whispering, dainty avalanche, only when Pierce had got maybe halfway up, her lovely hair turned, through some sinister sorcery, into a great unanchored wig, 53 and down he fell, on his ass. But dauntless, perhaps using one of his many credit cards for a shim, he'd slipped the lock on her tower door and come up the conchlike stairs, which, had true guile come more naturally to him, he'd have done to begin with. But all that had then gone on between them had really never escaped the confinement of that tower. (págs.12, 13) 16. EMPTY SPACE IS A CONTAINER THAT CANNOT BE FILLED 17. WORLD IS A CONTAINER In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedies Varo: in the central painting of a triptych, titled "Bordando el Manto Terrestre," were a number of frail girls with heart-shaped faces, huge eyes, spungold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in this tapestry, and the tapestry was the world. (pág.13) 18. OEDIPA IS A NEEDLEWOMAN 19. EGO IS A TOWER 20. MAGIC IS BORDERS OF A CONTAINER 21. MAGIC IS OPPOSING FORCE 22. NOTHING IS A CONTAINER 23. OEDIPA IS A CAPTIVE 24. SUPERSTITION IS A LOCATION 25. MAD IS A LOCATION She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousand miles away in her own tower was only by accident known as Mexico, and so Pierce had taken her away from nothing, there'd been no escape. What did her so desire escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: that what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or 54 marry a disk jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else? (pág.13) Capítulo 2 26. ANYTHING NEW IS A DESTINATION IN A PATH She left Kinneret, then, with no idea she was moving toward anything new. (pág.14) 27. SAN NARCISO IS A CONTAINER YOU DRIVE INTO 28. HOUSES AND STREETS ARE A CIRCUIT CARD 29. PATTERN OF CIRCUIT AND STREETS IS A HIEROGLYPH 30. MEANING IS A HIDDEN OBJECT 31. PRINTED CIRCUIT IS A PERSON WITH INFORMATION TO TELL 32. REVELATION IS A LIVING ENTITY GOINT INTO A CONTAINER 33. HEAD IS A HOUSE She drove into San Narciso on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull brown earth; and she thought of the time she'd opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There'd seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narciso, a revelation also trembled just past the threshold of her understanding. (págs.14, 15) 34. INSTANT IS A LOCATION YOU STAY AT 35. FREQUENCY IS A LOCATION 36. WORDS ARE UNNOTICED COLD Smog hung all-round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed parked at the centre of an odd, religious instant. As if, on some other frequency, or out of the eye of some whirlwind rotating too slow for her heated skin even to feel the centrifugal coolness of, words were being spoken. (pág.15) 55 37. INMEDIACY IS A MOVING OBJECT ALONG A PATH 38. PROMISE OF HIEROPHANT IS A MOVING OBJECT ALONG A PATH Some immediacy was there again, some promise of hierophant: printed circuit, gently curving streets, private access to the water, Book of the Dead. (pág.20) 39. HEAD IS A CONTAINER 40. HEADACHE IS A PLANT 41. TIME IS A MOVING OBJECT YOU CAN SLOW DOWN Oedipa would scowl back, growing more and more certain, while a headache began to flower behind her eyes, that they among all possible combinations of new lovers had found a way to make time itself slow down. (pág.27) Capítulo 3 42. TRYSTERO IS AN OBJECT 43. OEDIPA IS AN OBJECT INSIDE A CLOSED CONTAINER 44. TRYSTERO IS A LIBERATOR 45. INFIDELITY IS A STARTING POINT IN A PATH 46. IDEAS ARE PIECES WHICH FIT TOGETHER 47. REVELATION IS A MOVING ENTITY AROUND OEDIPA 48. STAMP COLLECTION IS A CONTAINER 49. STAMPS ARE WINDOWS 50. SPACE AND TIME ARE VIEWS THROUGH A WINDOW 51. DIFFICULT TASKS ARE HEADACHES 52. STAMP COLLECTION IS A PERSON 53. STAMP COLLECTION IS A LOVER 54. DEATH IS A CHEATING LOVER Things then did not delay in turning curious. If one object behind her discovery of what she was to label the Tristero System or often only The Tristero (as if it might be something's secret title) were to bring to an end her encapsulation in her tower, then that night's infidelity with Metzger would logically be the starting point for it; logically. That's what would come to haunt her most, perhaps: the way it fitted, logically, together. As if (as she'd guessed that first minute in San Narciso) there were revelation in progress all around her. Much of the revelation was to come through the stamp 56 collection Pierce had left, his substitute often for her thousands of little colored windows into deep vistas of space and time: savannahs teeming with elands and gazelles, galleons sailing west into the void, Hitler heads, sunsets, cedars of Lebanon, allegorical faces that never were, he could spend hours peering into each one, ignoring her. She had never seen the fascination. The thought that now it would all have to be inventoried and appraised was only another headache. No suspicion at all that it might have something to tell her. Yet if she hadn't been set up or sensitized, first by her peculiar seduction, then by the other, almost offhand things, what after all could the mute stamps have told her, remaining then as they would've only ex-rivals, cheated as she by death, about to be broken up into lots, on route to any number of new masters? (pág.29) 55. TRYSTERO IS A PLANT 56. TRYSTERO IS A WEAK IN FORCE ENTITY 57. LIFE EVENTS ARE PERFORMANCES 58. BREAKAWAY OF HISTORICAL FIGURATION IS A REVELATION 59. DAWN IS A LOCATION 60. NAKEDNESS IS A SCARY IMAGE 61. TRYSTERO IS A NAKED PERSON So began, for Oedipa, the languid, sinister blooming of The Tristero. Or rather, her attendance at some unique performance, prolonged as if it were the last of the night, something a little extra for whoever'd stayed this late. As if the breakaway gowns, net bras, jeweled garters and G-strings of historical figuration that would fall away were layered dense as Oedipa's own street-clothes in that game with Metzger in front of the Baby Igor movie; as if a plunge toward dawn indefinite black hours long would indeed be necessary before The Tristero could be revealed in its terrible nakedness. (pág.36) 62. SOMNOLENCE IS A LOCATION 63. PACIFIC IS AN INDIFFERENT PERSON 64. PACIFIC IS A HOLE THE MOON LEFT 65. PACIFIC IS A MONUMENT 66. SOMETHING YOU CANNOT HEAR OR SMELL IS A PHYSICAL ENTITY 67. SOMETHING TIDAL IS AN OBJECT MOVING ALONG A PATH 57 68. SOMETHING UNKNOWN IS A FREQUENCY 69. FEELERS IS A BRAIN NERVE 70. BRAIN IS A COMPUTER the more inland somnolence of San Narciso did lack, lurked the sea, the unimaginable Pacific, the one to which all surfers, beach pads, sewage disposal schemes, tourist incursions, sunned homosexuality, chartered fishing are irrelevant, the hole left by the moon's tearing-free and monument to her exile; you could not hear or even smell this but it was there, something tidal began to reach feelers in past eyes and eardrums, perhaps to arouse fractions of brain current your most gossamer microelectrode is yet too gross for finding. (págs.36, 37) 71. CALIFORNIA IS A REDEMPTED PERSON 72. PACIFIC IS A REDEEMER 73. PACIFIC IS A CONTAINER 74. UGLINESS IS A SUBSTANCE IN A CONTAINER 75. TRUTH IS A SUBSTANCE IN A CONTAINER Oedipa had believed, long before leaving Kinneret, in some principle of the sea as redemption for Southern California (not, of course, for her own section of the state, which seemed to need none), some unvoiced idea that no matter what you did to its edges the true Pacific stayed inviolate and integrated or assumed the ugliness at any edge into some more general truth. (pág.37) 76. MEMORY IS A ROLLED OBJECT 77. REMEMBERING IS UNLOOPING A ROLLED OBJECT 78. A STORY IS A LOCATION and hearing the plot of The Courier's Tragedy, by Richard Wharfinger, related near to unintelligible by eight memories unlooping progressively into regions as strange to map as their rising coils and clouds of pot smoke. It got so confusing that next day Oedipa decided to go see the play itself. (pág.43) 79. A PLAY IS A LOCATION 80. A PLAY IS A CONTAINER 64 he must get through. The sensitive must receive that staggering set of energies, and feedback something like the same quantity of information. To keep it all cycling. On the secular level all we can see is one piston, hopefully moving. One little movement, against all that massive complex of information, destroyed over and over with each power stroke." "Help," said Oedipa, "you're not reaching me." (págs.72, 73) 154. ENTROPY IS A BRIDGE "Entropy is a figure of speech, then," sighed Nefastis, "a metaphor. It connects the world of thermo-dynamics to the world of information flow. The Machine uses both. The Demon makes the metaphor not only verbally graceful, but also objectively true." (pág.73) 155. COINCIDENCES ARE PLANTS 156. TRYSTERO IS A WORD 157. TRYSTERO IS A CONTAINER With coincidences blossoming these days wherever she looked, she had nothing but a sound, a word, Trystero, to hold them together. (pág.75) 158. TRYSTERO IS A FANTASY 159. TRYSTERO IS A MIXED SUBSTANCE 160. TRYSTERO IS A PHYSICAL ENTITY 161. SHRINK IS A FIXER 162. CROWD IS A CONTAINER Either Trystero did exist, in its own right, or it was being presumed, perhaps fantasied by Oedipa, so hung up on and interpenetrated with the dead man's estate. Here in San Francisco, away from all tangible assets of that estate, there might still be a chance of getting the whole thing to go away and disintegrate quietly. She had only to drift tonight, at random, and watch nothing happen, to be convinced it was purely nervous, a little something for her shrink to fix. She got off the freeway at North Beach, drove around, parked finally in a steep side-street among warehouses. Then walked along Broadway, into the first crowds of evening. (pág.75) 163. HEAD IS A CONTAINER 65 164. OEDIPA IS AN OBJECT IN A CONTAINER 165. HYSTERIA IS A HIDDEN OBJECT Turned his back on her and ordered a drink. Oedipa took off her badge, put it in an ashtray and said, quietly, trying not to suggest hysteria, "Look, you have to help me. Because I really think I am going out of my head." (pág.77) 166. DEATH IS A DESTINATION IN A PATH In the early '6o's a Yoyodyne executive living near L.A. and located someplace in the corporate root-system above supervisor but below vice-president, found himself, at age 39, automated out of a job. Having been since age 7 rigidly instructed in an eschatology that pointed nowhere but to a presidency and death, trained to do absolutely nothing but sign his name to specialized memoranda he could not begin to understand and to take blame for the running-amok of specialized programs that failed for specialized reasons he had to have explained to him, the executive's first thoughts were naturally of suicide. (pág.78) 167. LOVE IS A LOCATION Idly, he peeled off a stamp and saw suddenly the image of the muted post horn, the skin of his hand showing clearly through the watermark. "A sign," he whispered, "is what it is." If he'd been a religious man he would have fallen to his knees. As it was, he only declared, with great solemnity: "My big mistake was love. From this day I swear to stay off of love: hetero, homo, bi, dog or cat, car, every kind there is. I will found a society of isolates, dedicated to this purpose, and this sign, revealed by the same gasoline that almost destroyed me, will be its emblem." (pág.80) 168. LIFE IS A STORY 169. DISPAIR IS A MOVING OBJECT ALONG A PATH 170. HATE IS A LOCATION 171. SPECULATION IS A LOCATION 172. CITY IS A CONTAINER 173. CITY IS AN INFECTED BEING Oedipa sat, feeling as alone as she ever had, now the only woman, she saw, in a room full of drunken male homosexuals. Story of my life, she thought, Mucho won't talk to 66 me, Hilarius won't listen, Clerk Maxwell didn't even look at me, and this group, God knows. Despair came over her, as it will when nobody around has any sexual relevance to you. She gauged the spectrum of feeling out there as running from really violent hate (an Indian-looking kid hardly out of his teens, with frosted shoulder-length hair tucked behind his ears and pointed cowboy boots) to dry speculation (a horn-rimmed SS type who stared at her legs, trying to figure out if she was in drag), none of which could do her any good. So she got up after a while and left The Greek Way, and entered the city again, the infected city. (pág.80) 174. DREAM IS A MOVING OBJECT ALONG A PATH 175. NIGHT IS A LOCATION 176. IDEA IS A MOVING OBJECT ALONG A PATH 177. CITY IS A POSSESION 178. CITY IS A BODY 179. STREETS ARE VESSELS 180. CITY IS A CONTAINER 181. SAFE IS OFFICIAL PROTECTION 182. MEMORY IS A CONTAINER She stayed with buses after that, getting off only now and then to walk so she'd keep awake. What fragments of dreams came had to do with the post horn. Later, possibly, she would have trouble sorting the night into real and dreamed. At some indefinite passage in night's sonorous score, it also came to her that she would be safe, that something, perhaps only her linearly fading drunkenness, would protect her. The city was hers, as, made up and sleeked so with the customary words and images (cosmopolitan, culture, cable cars) it had not been before: she had safe-passage tonight to its far blood's branchings, be they capillaries too small for more than peering into, or vessels mashed together in shameless municipal hickeys, out on the skin for all but tourists to see. Nothing of the nights could touch her; nothing did. The repetition of symbols was to be enough, without trauma as well perhaps to attenuate it or even jar it altogether loose from her memory. (pág.81) 183. CLUE IS A MOVING OBJECT ALONG A PATH 184. WORD IS A POSSESION 185. WORD IS A MENTALLY ILL PERSON 67 186. WORD IS A CRY 187. WORD IS AN ENTITY PUTTING AN END TO THE NIGHT She tested it, shivering: I am meant to remember. Each clue that comes is supposed to have its own clarity, its fine chances for permanence. But then she wondered if the gemlike "clues" were only some kind of compensation. To make up for her having lost the direct, epileptic Word, the cry that might abolish the night. (pág.81) 188. WORLD IS A CONTAINER 189. ANOTHER WORLD IS AN OBJECT ENTERING A CONTAINER "You know what a miracle is. Not what Bakunin said. But another world's intrusion into this one. (pág.83) 190. MORNING IS A CONTAINER She busrode and walked on into the lightening morning, giving herself up to a fatalism rare for her. Where was the Oedipa who'd driven so bravely up here from San Narciso? That optimistic baby had come on so like the private eye in any long-ago radio drama, believing all you needed was grit, resourcefulness, exemption from hidebound cops' rules, to solve any great mystery. (pág.85) 191. REPUBLIC IS A LOCATION 192. REPUBLIC IS A MACHINE 193. WITHDRAWAL IS A POSSESSION 194. EMPTY SPACE IS A CONTAINER WITH NO ENTRANCE 195. SEPARATE WORLD IS ANOTHER LOCATION For here were God knew how many citizens, deliberately choosing not to communicate by U. S. Mail. It was not an act of treason, nor possibly even of defiance. But it was a calculated withdrawal, from the life of the Republic, from its machinery. Whatever else was being denied them out of hate, indifference to the power of their vote, loopholes, simple ignorance, this withdrawal was their own, un-publicized, private. Since they could not have withdrawn into a vacuum (could they?), there had to exist the separate, silent, unsuspected world. (pág.86) 196. MORNING IS A CONTAINER 68 Exhausted, hardly knowing what she was doing, she came the last three steps and sat, took the man in her arms, actually held him, gazing out of her smudged eyes down the stairs, back into the morning. (pág.87) 197. FANTASY IS A LOCATION She might find the landlord of this place, and bring him to court, and buy the sailor a new suit at Roos/Atkins, and shirt, and shoes, and give him the bus fare to Fresno after all. But with a sigh he had released her hand, while she was so lost in the fantasy that she hadn't felt it go away, as if he'd known the best moment to let go."Just mail the letter," he said, "the stamp is on it." (pág.88) 198. HALLUCINATION IS A POSSESION 199. WORLD IS A CONTAINER She stared at it in wonder. It was as if she had just discovered the irreversible process. It astonished her to think that so much could be lost, even the quantity of hallucination belonging just to the sailor that the world would bear no further trace of. (pág.88) 200. SAFE IS INSIDE A CONTAINER 201. LOST IS OUTSIDE A CONTAINER She knew, because she had held him, that he suffered DTs. Behind the initials was a metaphor, a delirium tremens, a trembling unfurrowing of the mind’s ploughshare. The saint whose water can light lamps, the clairvoyant whose lapse in recall is the breath of God, the true paranoid for whom all is organized in spheres joyful or threatening about the central pulse of himself, the dreamer whose puns probe ancient foetid shafts and tunnels of truth all act in the same special relevance to the word, or whatever it is the word is there, buffering, to protect us from. The act of metaphor then was a thrust at truth and a lie, depending where you were: inside, safe, or outside, lost. Oedipa did not know where she was. (págs.88, 89) 202. SWARM IS A CONTAINER They were every one of them drunk, and a few of the men grabbed her, thinking to bring her along to a party in the grand ballroom. She tried to struggle out of the silent, gesturing swarm, but was too weak. Her legs ached, her mouth tasted horrible. (pág.90) 69 203. PSYCHOSIS IS A MEAT HOOK She had decided on route, with time to think about the day preceding, to go see Dr Hilarius her shrink, and tell him all. She might well be in the cold and sweatless meathooks of a psychosis. (pág.91) 204. SAFE IS INSIDE A LOCATION 205. THE UNSCONSCIOUS IS A DARK ROOM 206. MIND (THE UNCONSCIOUS) IS A ROOM 207. THE UNCONSCIOUS IS A WILD ANIMAL 208. SOCIETY IS A CONTAINER "And part of me must have really wanted to believe like a child hearing, in perfect safety, a tale of horror that the unconscious would be like any other room, once the light was let in. That the dark shapes would resolve only into toy horses and Biedermeyer furniture. That therapy could tame it after all, bring it into society with no fear of its someday reverting. I wanted to believe, despite everything my life had been. Can you imagine?" She could not, having no idea what Hilarius had done before showing up in Kinneret. (pág.93) 209. EGO IS A CONTAINER 210. RELATIVE PARANOIA IS A LOCATION 211. RELATIVE PARANOIA IS KNOWLEDGE There is me, there are the others. You know, with the LSD, we're finding, the distinction begins to vanish. Egos lose their sharp edges. But I never took the drug, I chose to remain in relative paranoia, where at least I know who I am and who the others are. Perhaps that is why you also refused to participate, Mrs Maas?" (pág.94) 212. OTHER PEOPLE IS UNDISTINGUISHABLE PERSONS 213. FANTASY IS A CONTAINER 214. FANTASY IS A VALUABLE OBJECT 215. FANTASY IS ONLY POSSIBLE POSSESION 216. FANTASY IS AN ANIMAL 217. FANTASY IS AN OBJECT 218. FANTASY IS AN OBJECT INSIDE A CONTAINER 219. OEDIPA IS A CONTAINER (FOR FANTASY) 70 220. DISSAPEARING IS MIXING WITH OTHER PEOPLE 221. FANTASY IS EXISTENCE "I came," she said, "hoping you could talk me out of a fantasy." "Cherish it!" cried Hilarius, fiercely. "What else do any of you have? Hold it tightly by its little tentacle, don't let the Freudians coax it away or the pharmacists poison it out of you. Whatever it is, hold it dear, for when you lose it you go over by that much to the others. You begin to cease to be." (págs.95, 96) 222. IDENTITY IS A POSSESSION 223. MUCHO IS A GROUP OF PEOPLE He's losing his identity, Edna, how else can I put it? Day by day, Wendell is less himself and more generic. He enters a staff meeting and the room is suddenly full of people, you know? He's a walking assembly of man." (pág.97) 224. PANIC IS A LIVING BEING GOING UP 225. HEAD IS A CONTAINER She didn't know him. Panic started to climb out of a dark region in her head. (pág.99) 226. WORLD IS A SUBSTANCE 227. WORLD IS AN EXTENSE LOCATION "But there may be a chance you're not addicted yet." "Oed," looking at her puzzled, "you don't get addicted. It's not like you're some hophead. You take it because it's good. Because you hear and see things, even smell them, taste like you never could. Because the world is so abundant. No end to it, baby. (pág.99) 228. HEAD IS A CONTAINER 229. IDEA IS AN OBJECT INSIDE A CONTAINER She remembered. Now he would never be spooked again, not as long as he had the pills. She could not quite get it into her head that the day she'd left him for San Narciso was the day she'd seen Mucho for the last time. (pág.100) Capítulo 6 71 230. AMERICA IS A ROLLED OBJECT This is America, you live in it, you let it happen. Let it unfurl. (pág.103) 231. MUCHO IS A HOUSE 232. MUCHO IS A CHILD IN A CANDY HOUSE 233. LOVE IS A LOCATION 234. TRYSTERO IS A LOCATION IN A PATH 235. LOST IS BEING ALONE My shrink, pursued by Israelis, has gone mad; my husband, on LSD, gropes like a child further and further into the rooms and endless rooms of the elaborate candy house of himself and away, hopelessly away, from what has passed, I was hoping forever, for love; my one extra fella has eloped with a depraved 15-year-old; my best guide back to the Trystero has taken a Brody. Where am I? (pág.105) 236. AFTERNOON SMOG IS A LOCATION 237. OEDIPA IS A CONTAINER 238. MIND IS A BODY The day after reading Blobb's Peregrinations she, with Bortz, Grace, and the graduate students, attended Randolph Driblette's burial, listened to a younger brother's helpless, stricken eulogy, watched the mother, spectral in afternoon smog, cry, and came back at night to sit on the grave and drink Napa Valley muscatel, which Driblette in his time had put away barrels of. There was no moon, smog covered the stars, all black as a Tristero rider. Oedipa sat on the earth, ass getting cold, wondering whether, as Driblette had suggested that night from the shower, some version of herself hadn't vanished with him. Perhaps her mind would go on flexing psychic muscles that no longer existed; would be betrayed and mocked by a phantom self as the amputee is by a phantom limb. Someday she might replace whatever of her had gone away by some prosthetic device, a dress of a certain color, a phrase in a ' letter, another lover. (pág.111) 239. MEMORY (WINGED SHAPE) IS AN OBJECT YOU REACH 240. PROTEIN IS AN OBJECT 241. QUIESCENCE IS A STUBBORN PERSON 242. OEDIPA IS A CONTAINER 243. QUIESCENCE IS AN OBJECT EMERGING FROM THE EARTH 72 244. HEART IS A SACRED PLACE 245. PROTEIN IS A PERSON HOLDING AN OBJECT 246. QUIESCENTE IS A PERSON HOLDING AN OBJECT 247. OEDIPA IS A CONTAINER 248. LABYRINTH IS A CONTAINER FOR INFORMATION 249. BRAIN IS A CONTAINER 250. BRAIN IS A MACHINE She tried to reach out, to whatever coded tenacity of protein might improbably have held on six feet below, still resisting decay any stubborn quiescence perhaps gathering itself for some last burst, some last scramble up through earth, just-glimmering, holding together with its final strength a transient, winged shape, needing to settle at once in the warm host, or dissipate forever into the dark. If you come to me, prayed Oedipa, bring your memories of the last night. Or if you have to keep down your payload, the last five minutes that may be enough. But so I'll know if your walk into the sea had anything to do with Tristero. If they got rid of you for the reason they got rid of Hilarius and Mucho and Metzger maybe because they thought I no longer needed you. They were wrong. I needed you. Only bring me that memory, and you can live with me for whatever time I've got. She remembered his head, floating in the shower, saying, you could fall in love with me. But could she have saved him? She looked over at the girl who'd given her the news of his death. Had they been in love? Did she know why Driblette had put in those two extra lines that night? Had he even known why? No one could begin to trace it. A hundred hangups, permuted, combined sex, money, illness, despair with the history of his time and place, who knew. Changing the script had no clearer motive than his suicide. There was the same whimsy to both. Perhaps she felt briefly penetrated, as if the bright winged thing had actually made it to the sanctuary of her heart, perhaps, springing from the same slick labyrinth, adding those two lines had even, in a way never to be explained, served him as a rehearsal for his night's walk away into that vast sink of the primal blood the Pacific. She waited for the winged brightness to announce its safe arrival. But there was silence. Driblette, she called. The signal echoing down twisted miles of brain circuitry. Driblette! But as with Maxwell's Demon, so now. Either she could not communicate, or he did not exist. (págs.111, 112) 251. LINE OF COMMUNICATION IS A CONTROLLING FORCE 73 The crowd hushes, 'The salvation of Europe,' Konrad says, 'depends on communication, right? We face this anarchy of jealous German princes, hundreds of them scheming, counter scheming, infighting, dissipating all of the Empire's strength in their useless bickering. But whoever could control the lines of communication, among all these princes, would control them. That network someday could unify the Continent. (pág.113) 252. HOAX IS AN OBJECT 253. HOAX IS A PHYSICAL ENTITY "Has it ever occurred to you, Oedipa, that / somebody's putting you on? That this is all a hoax, maybe something Inverarity set up before he died?" It had occurred to her. But like the thought that someday she would have to die, Oedipa had been steadfastly refusing to look at that possibility directly, in any but the most accidental of lights. (págs.115, 116) 254. TRYSTERO IS A LOCATION IN A PATH 255. INVERARITY STATE IS A LOCATION Sure enough, the whole shopping center that housed Zapf's Used Books and Tremaine's surplus place had been owned by Pierce. Not only that, but the Tank Theatre, also. OK, Oedipa told herself, stalking around the room, her viscera hollow, waiting on something truly terrible, OK. It's unavoidable, isn't it? Every access route to the Tristero could be traced also back to the Inverarity estate. Even Emory Bortz, with his copy of Blobb's Peregrinations (bought, she had no doubt he'd tell her in the event she asked, also at Zapf's), taught now at San Narciso College, heavily endowed by the dead man. (pág.117) 256. DREAM IS A LOCATION 257. NETWORK OF COMMUNICATION IS A LOCATION 258. ALTERNATIVE TO EXISTLESSNESS IS A LOCATION 259. ALTERNATIVE TO THE ABSENCE OF SURPRISE IS A LOCATION 260. SKULL IS A CONTAINER 261. BEING MAD IS GOING OUT A CONTAINER Meaning what? That Bortz, along with Metzger, Cohen, Driblette, Koteks, the tattooed sailor in San Francisco, the W.A.S.T.E. carriers she'd seen that all of them were Pierce 80 A PATH anything unusual had happened 5. BEING FORGOTTEN OUT OF A CONTAINER It took him over, and to the verge of being forgotten. 9. MEMORY (REVELATION ABOUT) AN OBJECT As things developed, she was to have all manner of revelations. Hardly about Pierce Inveracity, or herself; but about what remained 10. MEMORY (REVELATION ABOUT) AN OBJECT OUTSIDE A CONTAINER but about what remained yet had somehow, before this, stayed away. 11. MEMORY (SENSE OF) A COMPUTER There had hung the sense of buffering, insulation, she had noticed the absence of intensity 15. MEMORY (OF A LOVE RELATIONSHIP) AN OBJECT INSIDE A BUILDING But all that had then gone on between them had really never escaped the confinement of that tower. 33. HEAD A HOUSE a revelation also trembled just past the threshold of her understanding. 39. HEAD A CONTAINER a headache began to flower behind her eyes, 70. BRAIN COMPUTER something tidal began to reach feelers in past eyes and eardrums, perhaps to arouse fractions of brain current your most gossamer microelectrode 81 is yet too gross for finding. 76. MEMORY A ROLLED OBJECT by eight memories unlooping progressively 77. REMEMBERING UNLOOPING A ROLLED OBJECT by eight memories unlooping progressively 88. HEAD A CONTAINER a hand emerged from the veil of shower-steam to indicate his suspended head "in here. 90. MEMORY A DESTINATION IN A PATH to get past the bone barriers around an actor's memory 119. HEAD A CONTAINER panic growing inside her head: 135. FATIGUED BRAIN CELL OBSTACLE IN A PATH All these fatigued brain cells between herself and the truth. 137. MEMORY COMPILED OBJECT she too might not be left with only compiled memories of 141. MEMORY A CONTAINER for her memory to hold; 163. HEAD A CONTAINER I really think I am going out of my head." 182. MEMORY A CONTAINER loose from her memory. 206. MIND (THE UNCONSCIOUS) ROOM the unconscious would be like any other room, 225. HEAD A CONTAINER Panic started to climb out of a dark region in her head. 228. HEAD A CONTAINER She could not quite get it into her head 229. IDEA AN OBJECT OUT OF A CONTAINER She could not quite get it into her head that the day 82 she'd left him for San Narciso was the day she'd seen Mucho for the last time. 238. MIND A BODY Perhaps her mind would go on flexing psychic muscles that no longer existed; 239. MEMORY (WINGED SHAPE) AN OBJECT YOU REACH She tried to reach out (…)a transient, winged shape (…) bring your memories 249. BRAIN A CONTAINER echoing down twisted miles of brain circuitry. 250. BRAIN A MACHINE echoing down twisted miles of brain circuitry. 260. SKULL A CONTAINER you are a nut, Oedipa, out of your skull. TIME, DAYS, INSTANT, INMEDIACY: 3, 4, 34, 37, 41, 288, 289 3. DAYS CARDS YOU SHUFFLE BACK shuffling back through a fat deckful of days 4. DAYS IDENTICAL CARDS POINTING THE SAME WAY deckful days which seemed (…) more or less identical, or all pointing the same way subtly 34. INSTANT A LOCATION YOU STAY AT she and the Chevy seemed parked at the Centre of an odd, religious instant. 37. INMEDIACY A MOVING OBJECT ALONG A PATH Some immediacy was there again, 83 41. TIME A MOVING OBJECT YOU CAN SLOW DOWN had found a way to make time itself slow down. 288. TIME A DARK ENTITY during the darkest, slowest hours 289. TIME AN OBJECT MOVING ALONG A PATH during the darkest, slowest hours CRISIS, PANIC, SUPERSTITION, MAD, SEIZURE, HYSTERIA, HALLUCINATION, PARANOIA, PSYCHOSIS, RELATIVE PARANOIA, BEING MAD, ECSTASY 6, 7, 24, 25, 118, 126, 144, 165, 198, 203, 210, 211, 224, 261, 279, 305, 306, 307, 310 6. CRISIS BEING DOWN IN THE BOTTOM OF A CONTAINER suffered regular crises (…) he could usually get out. (…) way down there, further down perhaps than she could reach, (…)to bring him back up. 7. PANIC A LOCATION so that such times often brought her near panic 24. SUPERSTITION A LOCATION she may fall back on superstition, 25. MAD A LOCATION or go mad, 118. PANIC GROWING LIVING ENTITY INSIDE A CONTAINER panic growing inside her head 126. MADNESS A CONTAINER had had to walk uncoerced into the presence of madness. 144. SEIZURE A VISITOR she would never know how many times such a seizure may already have visited, or how to grasp it should it 84 visit again. 165. HYSTERIA HIDDEN OBJECT trying not to suggest hysteria, "Look, you have to help me. Because I really think I am going out of my head." 198. HALLUCINATION A POSSESION even the quantity of hallucination belonging just to the sailor 203. PSYCHOSIS A MEAT HOOK She might well be in the cold and sweatless meathooks of a psychosis. 210. RELATIVE PARANOIA A LOCATION I chose to remain in relative paranoia, 211. RELATIVE PARANOIA KNOWLEDGE relative paranoia, where at least I know who I am and who the others are. 224. PANIC A LIVING BEING GOING UP Panic started to climb out of a dark region in her head 261. BEING MAD IS GOING OUT A CONTAINER in which case you are a nut, Oedipa, out of your skull. 279. PARANOIA IS OPPOSING FORCE Or he might even have tried to survive death, as a paranoia; as a pure conspiracy against someone he loved. 305. ECSTASY A MOVING CONTAINER Oedipa in the orbiting ecstasy of a true paranoia 306. ECSTASY AN OBJECT MOVING IN A CURVED PATH AROUND ANOTHER Oedipa in the orbiting ecstasy of a true paranoia 85 307. PARANOIA AN OBJECT Oedipa in the orbiting ecstasy of a true paranoia 310. PARANOIA A CONTAINER MOVING AROUND AN OBJECT Oedipa in the orbiting ecstasy of a true paranoia CONTROL: 8 8. CONTROL A POSSESION the sight of her so about to lose control A ROLE, A STORY, A PLAY, A SONG: 12, 78, 79, 80, 87, 301 12. A ROLE A CONTAINER And had also gently conned herself into the curious, Rapunzel-like role 78. A STORY A LOCATION and hearing the plot (…)by eight memories unlooping progressively into regions as strange to map 79. A PLAY A LOCATION Oedipa found herself after five minutes sucked utterly into the landscape of evil Richard Wharfinger 80. A PLAY A CONTAINER Oedipa found herself after five minutes sucked utterly into the landscape of evil Richard Wharfinger 87. A PLAY AN OBJECT INSIDE A CONTAINER You know where that play exists,(…) a hand emerged from the veil of showersteam to indicate his suspended head "in here. 86 301. A SONG A CONTAINER In the songs Miles, Dean, Serge and Leonard sang was either some fraction of the truth's numinous beauty KINNERET, SAN NARCISO, HOUSES AND STREETS, PATTERN OF CIRCUIT AND STREETS, CITY, CITY STREETS, CALIFORNIA, AMERICA: 13, 27, 28, 29, 71, 172, 173, 177, 178, 179, 180, 230, 268, 269, 270, 271, 272, 285, 287, 296, 297, 298, 308, 309 13. KINNERET PRISON prisoner among the pines and salt fogs of Kinneret 27. SAN NARCISO A CONTAINER YOU DRIVE INTO She drove into San Narciso 28. HOUSES AND STREETS A CIRCUIT CARD The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. 29. PATTERN OF CIRCUIT AND STREETS A HIEROGLYPH there were to both outward patterns a hieroglyphic sense 71. CALIFORNIA A REDEMPTED PERSON some principle of the sea as redemption for Southern California 172. CITY A CONTAINER and entered the city again, 173. CITY AN INFECTED BEING the infected city. 177. CITY A POSSESION The city was hers, 178. CITY BODY The city was hers, (…): she had safe-passage tonight to 87 its far blood's branchings, be they capillaries too small for more than peering into, or vessels (…), out on the skin for all but tourists to see. 179. STREETS VESSELS The city was hers, (…) she had safe-passage tonight to its far blood's branchings, be they capillaries too small for more than peering into, or vessels mashed together in shameless municipal hickeys, 180. CITY A CONTAINER she had safe-passage tonight to its far blood's branchings, 230. AMERICA A ROLLED OBJECT Let it unfurl. 268. SAN NARCISO A LOST OBJECT San Narciso at that moment lost 269. SAN NARCISO A RESIDUE INSIDE OEDIPA San Narciso at that moment lost (…), gave up its residue of uniqueness for her. 270. SAN NARCISO A CONTAINER WITH NO BOUNDARIES There was the true continuity, San Narciso had no boundaries. 271. AMERICA A POSSESSION LEFT BEHIND to making sense of what Inveracity had left behind, never suspecting that the legacy was America 272. AMERICA A LEGACY never suspecting that the 88 legacy was America 285. AMERICA CODED INFORMATION That America coded in Inveracity’s testament, 287. AMERICA A POSSESSION That America coded in Inveracity’s testament, whose was that? 296. SAN NARCISO A COMPUTER For it was now like walking among matrices of a great digital computer, 297. CITY STREETS A HIEROGLYPH Behind the hieroglyphic streets 298. CITY STREETS A HIDING PLACE Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth. 308. AMERICA A PLACE HIDDING ANOTHER PLACE For there either was some Trystero beyond the appearance of the legacy of America, or there was just America 309. AMERICA PLACE BEYOND AN APPEARANCE either was some Trystero beyond the appearance of the legacy America, or there was just America, and if there was just America then it seemed the only way she could continue, BEGINNING A RELATIONSHIP: 14 14. BEGINNING A RELATIONSHIP GOING INTO A BUILDING he'd slipped the lock on her tower door and come up 89 the conch like stairs, EMPTY SPACE: 16, 194, 262, 263 16. EMPTY SPACE A CONTAINER THAT CANNOT BE FILLED and into a void, seeking hopelessly to fill the void: 194. EMPTY SPACE A CONTAINER WITH NO ENTRANCE Since they could not have withdrawn into a vacuum (could they?), 262. EMPTY SPACE A DIFFICULT SITUATION teaching herself to breathe in a vacuum. 263. EMPTY SPACE REALIZING ABOUT A DIFFICULTY teaching herself to breathe in a vacuum. For this, oh God, was the void WORLD, ANOTHER WORLD, SEPARATE WORLD: 17, 112, 143, 188, 189, 195, 199, 226, 227 17. WORLD A CONTAINER all the other buildings and creatures, all the waves, ships and forests of the earth were contained in this tapestry, and the tapestry was the world 112. WORLD A PROJECTION Shall I project a world? 143. WORLD A MOVING OBJECT ALONG A PATH when the ordinary world came back. 188. WORLD A CONTAINER another world's intrusion into this one. 189. ANOTHER WORLD AN OBJECT ENTERING A CONTAINER another world's intrusion into this one. 195. SEPARATE WORLD ANOTHER LOCATION there had to exist the separate, silent, 96 56. TRYSTERO A WEAK IN FORCE ENTITY the languid, sinister blooming of The Trystero. 61. TRYSTERO A NAKED PERSON before The Trystero could be revealed in its terrible nakedness. 81. TRYSTERO A PERSON who’s once been set his tryst with Trystero. Trystero. 102. TRYSTERO A CLOTH would somehow come to be woven into The Tristero. 156. TRYSTERO A WORD she had nothing but a sound, a word, Trystero, 157. TRYSTERO A CONTAINER she had nothing but a sound, a word, Trystero, to hold them together. 158. TRYSTERO A FANTASY Either Trystero did exist, in its own right, or it was being presumed, perhaps fantasied by Oedipa, 159. TRYSTERO A MIXED SUBSTANCE or it was being presumed, perhaps fantasied by Oedipa, so hung up on and interpenetrated with the dead man's estate. 160. TRYSTERO A PHYSICAL ENTITY there might still be a chance of getting the whole thing to go away and disintegrate quietly. 234. TRYSTERO A LOCATION IN A PATH my best guide back to the Trystero 254. TRYSTERO A LOCATION IN A PATH Every access route to the Tristero could be traced also back to the Inverarity 97 estate. 276. TRYSTERO ENCRYPTED INFORMATION He might himself have discovered The Tristero, and encrypted that in the will, 280. TRYSTERO AN OBJECT have discovered The Tristero, and encrypted that in the will, buying into just enough to be sure she'd find it. 284. TRYSTERO A POSSESSION what it was the Tristero were to have inherited; as perhaps Oedipa one day might have. 292. TRYSTERO A PERSON How many shared Trystero's secret, as well as its exile? INFIDELITY: 45 45. INFIDELITY IS A STARTING POINT IN A PATH then that night's infidelity with Metzger would logically be the starting point for it; IDEAS: 46, 176, 229, 311 46. IDEAS PIECES WHICH FIT TOGETHER That's what would come to haunt her most, perhaps: the way it fitted, logically, together. 176. IDEA MOVING OBJECT ALONG A PATH it also came to her that she would be safe, 98 229. IDEA AN OBJECT INSIDE A CONTAINER She could not quite get it into her head that the day she'd left him for San Narciso was the day she'd seen Mucho for the last time. 311. IDEA POSSESSION She had only some vague idea about causing a scene violent enough to bring the cops STAMP COLLECTION, STAMPS: 48, 49, 52, 53 48. STAMP COLLECTION A CONTAINER Much of the revelation was to come through the stamp collection Pierce had left, 49. STAMPS WINDOWS thousands of little colored windows into deep vistas of space and time: 52. STAMP COLLECTION PERSON No suspicion at all that it might have something to tell her. 53. STAMP COLLECTION A LOVER the stamp collection Pierce had left, his substitute often for her (…)he could spend hours peering into each one, ignoring her. SPACE AND TIME: 50 50. SPACE AND TIME VIEWS THROUGH A WINDOW into deep vistas of space and time 99 DIFFICULT TASKS: 51 51. DIFFICULT TASKS HEADACHES The thought that now it would all have to be inventoried and appraised was only another headache. DEATH: 54, 104, 166, 278 54. DEATH A CHEATING LOVER as they would've only exrivals, cheated as she by death, 104. DEATH A DESTINATION IN A PATH If it was really Pierce's attempt to leave an organized something behind after his own annihilation, 166. DEATH A DESTINATION IN A PATH Having been since age 7 rigidly instructed in an eschatology that pointed nowhere but to a presidency and death, 278. DEATH OPPOSING FORCE Or he might even have tried to survive death, LIFE EVENTS, LIFE: 57, 96, 103, 105, 107, 145, 168 57. LIFE EVENTS PERFORMANCES So began, for Oedipa, the languid, sinister blooming of The Tristero. Or rather, her attendance at some unique performance, 96. LIFE A RESOURCE You could waste your life 100 that way and never touch the truth. 103. LIFE A PATH If it was really Pierce's attempt to leave an organized something behind after his own annihilation, 105. LIFE A VALUABLE OBJECT to bestow life on what had persisted, 107. LIFE BEING SURROUNDED BY A DOME all in a soaring dome around her? 145. LIFE A LOCATION YOU CAN GET LOST IN how far it might be possible to get lost in this. 168. LIFE A STORY Story of my life, she thought, PAST EVENT: 58 58. PAST EVENT A PERSON As if the breakaway gowns, net bras, jeweled garters and G-strings of historical figuration that would fall away DAWN, NIGHT, MORNING, AFTERNOON SMOG: 59, 175, 190, 196, 236, 265, 283 59. DAWN A LOCATION as if a plunge toward dawn indefinite black hours long would indeed be necessary 175. NIGHT A LOCATION At some indefinite passage in night's sonorous score, 190. MORNING A CONTAINER She bus rode and walked on into the lightening 101 morning 196. MORNING A CONTAINER back into the morning. 236. AFTERNOON SMOG A LOCATION spectral in afternoon smog, 265. NIGHT A LOCATION She stood between the public booth and the rented car, in the night, 283. NIGHT A LOCATION the great night around her. NAKEDNESS: 60 60. NAKEDNESS A SCARY IMAGE The Tristero could be revealed in its terrible nakedness. SOMNOLENCE, HEADACHE: 62, 40 62. SOMNOLENCE A LOCATION the more inland somnolence of San Narciso 40. HEADACHE A PLANT a headache began to flower behind her eyes, PACIFIC: 63, 64, 65, 72, 73 63. PACIFIC AN INDIFFERENT PERSON the unimaginable Pacific, the one to which all surfers, beach pads, sewage disposal schemes, tourist incursions, sunned homosexuality, chartered fishing are irrelevant, 64. PACIFIC A HOLE THE MOON LEFT the hole left by the moon's tearing-free 102 65. PACIFIC A MONUMENT the hole left by the moon's tearing-free and monument to her exile; you 72. PACIFIC A REDEEMER Oedipa had believed, long before leaving Kinneret, in some principle of the sea as redemption for Southern California 73. PACIFIC A CONTAINER no matter what you did to its edges the true Pacific stayed inviolate and integrated SOMETHING YOU CANNOT HEAR OR SMELL: 66 66. SOMETHING YOU CANNOT HEAR OR SMELL A PHYSICAL ENTITY you could not hear or even smell this but it was there, SOMETHING UNKNOWN: 67 67. SOMETHING UNKNOWN AN OBJECT MOVING ALONG A PATH something tidal began to reach feelers in past eyes and eardrums, SOMETHING UNKNOWN: 68 68. SOMETHING UNKNOWN A FREQUENCY you could not hear or even smell this but it was there, something tidal began to reach feelers FEELER: 69 103 69. FEELER A BRAIN NERVE something tidal began to reach feelers UGLINESS: 74 74. UGLINESS A SUBSTANCE IN A CONTAINER Pacific stayed inviolate and integrated or assumed the ugliness at any edge into some more general truth. TRUTH: 75, 97, 136, 138, 139, 140, 142 75. TRUTH A SUBSTANCE IN A CONTAINER the true Pacific stayed inviolate and integrated or assumed the ugliness at any edge into some more general truth 97. TRUTH A PHYSICAL ENTITY and never touch the truth. 136. TRUTH A DESTINATION IN A PATH All these fatigued brain cells between herself and the truth. 138. TRUTH A POSSESION she too might not be left with only compiled memories of clues, announcements, intimations, but never the central truth itself, 139. TRUTH A BRIGHT OBJECT INSIDE A CONTAINER the central truth itself, which must somehow each time be too bright for her memory to hold; 140. TRUTH A CONTAINER which must always blaze 104 out, destroying its own message irreversibly, 142. ABSENCE OF TRUTH A BLANK leaving an overexposed blank when the ordinary world came back. CHAOS: 83, 84 83. CHAOS A CONTAINER She walked in on soft, elegant chaos, 84. CHAOS INTERFERING EMISSIONS She walked in on soft, elegant chaos, an impression of emanations, mutually interfering, from the stub-antennas of everybody's exposed nerve endings. ANTENNA: 85 85. ANTENNA A CONTAINER from the stub-antennas of everybody's exposed nerve endings. BODY NERVES: 86 86. BODY NERVES TRANSMITTERS from the stub-antennas of everybody's exposed nerve endings. REALITY: 91 105 91. REALITY AN OBJECT INSIDE A CONTAINER But the reality is in this head. Mine. PERSON, BODY ORIFICES: 92, 94, 96 92. PERSON A PROJECTOR DEVICE I'm the projector at the planetarium, 94. PERSON A CONTAINER all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, sometimes other orifices also." 95. BODY ORIFICES LENSES I'm the projector at the planetarium, all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, sometimes other orifices also." UNIVERSE: 93 93. UNIVERSE A PERFORMANCE all the closed little universe visible in the circle of that stage TEXT: 98 98. TEXT A MOVING OBJECT ALONG A PATH and did trace the text of The Courier's Tragedy a certain distance, READING: 128 112 169. DESPAIR A MOVING OBJECT ALONG A PATH Despair came over her, HATE: 170 170. HATE A LOCATION She gauged the spectrum of feeling out there as running from really violent hate SPECULATION: 171 171. SPECULATION A LOCATION She gauged the spectrum of feeling out there as running from really violent hate (…) to dry speculation DREAM: 174, 256 174. DREAM MOVING OBJECT ALONG A PATH What fragments of dreams came had to do with the post horn 256. DREAM A LOCATION Either you have stumbled indeed, without the aid of LSD or other in dole alkaloids, onto a secret richness and concealed density of dream; SAFE: 181, 200, 204 113 181. SAFE OFFICIAL PROTECTION . The city was hers (…) she had safe-passage tonight to its far blood's branchings, 200. SAFE INSIDE A CONTAINER depending where you were: inside, safe, or outside, lost. 204. SAFE INSIDE A LOCATION in perfect safety, LOST: 201, 235 201. LOST OUTSIDE A CONTAINER depending where you were: inside, safe, or outside, lost. Oedipa 235. LOST BEING ALONE My shrink, (…) has gone mad; my husband, (…) away, hopelessly away, from what has passed, I was hoping forever, for love; my one extra fella has eloped with a depraved 15year-old; my best guide back to the Trystero has taken a Brody. Where am I? CLUE: 183 183. CLUE MOVING OBJECT ALONG A PATH Each clue that comes is supposed to have its own clarity, its fine chances for permanence. 114 REPUBLIC: 191, 192 191. REPUBLIC A LOCATION But it was a calculated withdrawal, from the life of the Republic 192. REPUBLIC A MACHINE But it was a calculated withdrawal, from the life of the Republic, from its machinery. WITHDRAWAL: 193 193. WITHDRAWAL A POSSESSION this withdrawal was their own, un-publicized, private FANTASY: 197, 213, 214, 215, 216, 217, 218, 221 197. FANTASY A LOCATION while she was so lost in the fantasy 213. FANTASY CONTAINER "hoping you could talk me out of a fantasy." 214. FANTASY A VALUABLE OBJECT "hoping you could talk me out of a fantasy." "Cherish it!" 215. FANTASY ONLY POSSIBLE POSSESION "What else do any of you have? 216. FANTASY AN ANIMAL Hold it tightly by its little tentacle, 217. FANTASY AN OBJECT Whatever it is, hold it dear, 218. FANTASY AN OBJECT INSIDE A CONTAINER don't let the Freudians coax it away or the pharmacists poison it out of you. 115 221. FANTASY EXISTENCE for when you lose it you go over by that much to the others. You begin to cease to be." THE UNCONSCIOUS: 205, 207 205. THE UNCONSCIOUS A DARK ROOM that the unconscious would be like any other room, once the light was let in. 207. THE UNCONSCIOUS A WILD ANIMAL That therapy could tame it after all, DISSAPEARING: 220 220. DISSAPEARING BEING LIKE OTHER PEOPLE you go over by that much to the others. You begin to cease to be." IDENTITY: 222 222. IDENTITY A POSSESSION He's losing his identity, MUCHO: 223, 231, 232 223. MUCHO A GROUP OF PEOPLE He enters a staff meeting and the room is suddenly full of people, you know? He's a walking assembly of man." 231. MUCHO A HOUSE my husband, on LSD, gropes like a child further 116 and further into the rooms and endless rooms of the elaborate candy house of himself 232. MUCHO A CHILD IN A CANDY HOUSE my husband, on LSD, gropes like a child further and further into the rooms and endless rooms of the elaborate candy house of himself PROTEIN: 240 240. PROTEIN AN OBJECT She tried to reach out, to whatever coded tenacity of protein might improbably have held on six feet below, still resisting decay any stubborn quiescence PROTEIN: 245 245. PROTEIN A PERSON HOLDING AN OBJECT , to whatever coded tenacity of protein might improbably have held on six feet below, still resisting decay - any stubborn quiescence QUIESCENCE: 241, 243, 246 241. QUIESCENCE A STUBBORN PERSON stubborn quiescence 117 243. QUIESCENCE AN OBJECT EMERGING FROM THE EARTH any stubborn quiescence perhaps gathering itself for some last burst, some last scramble up through earth, 246. QUIESCENCE PERSON HOLDING AN OBJECT still resisting decay any stubborn quiescence perhaps gathering itself (…) just-glimmering, holding together with its final strength a transient, winged shape, needing to settle at once in the warm host, HEART: 244 244. HEART A SACRED PLACE she felt briefly penetrated, as if the bright winged thing had actually made it to the sanctuary of her heart, LABYRINTH: 248 248. LABYRINTH A CONTAINER FOR INFORMATION perhaps, springing from the same slick labyrinth, adding those two lines had even, in a way never to be explained, served him as a rehearsal for his night’s walk away into that vast sink of the primal blood the 118 Pacific. LINE OF COMMUNICATION, NETWORK OF COMMUNICATION: 251, 257 251. LINE OF COMMUNICATION A CONTROLLING FORCE But whoever could control the lines of communication, among all these princes, would control them. 257. NETWORK OF COMMUNICATION A LOCATION Stumbled (…) onto a network by which X number of Americans are truly communicating HOAX: 252, 253 252. HOAX AN OBJECT That this is all a hoax, maybe something Inverarity set up before he died 253. HOAX A PHYSICAL ENTITY Oedipa had been steadfastly refusing to look at that possibility directly, INVERARITY STATE: 255 255. INVERARITY STATE A LOCATION Every access route to the Trystero could be traced also back to the Inverarity estate. ALTERNATIVE TO EXISTLESSNESS: 258 119 258. ALTERNATIVE TO EXISTLESSNESS A LOCATION Stumble (…) maybe even onto a real alternative to the exitlessness, to the absence of surprise to life, ALTERNATIVE TO THE ABSENCE OF SURPRISE: 259 259. ALTERNATIVE TO THE ABSENCE OF SURPRISE A LOCATION ; maybe even onto a real alternative to the exitlessness, to the absence of surprise to life, ORIENTATION: 266 266. ORIENTATION AN OBJECT YOU LOOSE and tried to face toward the sea. But she'd lost her bearings. AN ENIGMA: 273 273. AN ENIGMA A LOCATION WITH NO WAY OUT neither would she lose a new compassion for the cul-de-sac he'd tried to find a way out of, for the enigma his efforts had created. BITTERNESS: 275 275. BITTERNESS A SUBSTANCE INSIDE A CONTAINER Bitterness could have run that deep in him. 120 WILL: 277, 286 277. WILL A CONTAINER He might himself have discovered The Trystero, and encrypted that in the will, 286. A WILL A CONTAINER That America coded in Inveracity’s testament, whose was that? MAGICAL OTHER: 290 290. MAGICAL OTHER MEANINGFUL SOUND AMONG NOISE voices before and after the dead man's that had phoned at random (…) searching ceaseless among the dial's ten million possibilities for that magical Other who would reveal herself out of the roar of relays, BRUTE REPETITION: 291 291. BRUTE REPETITION IS AN ORIGINATOR brute repetition must someday call into being the trigger for the unnameable act, the recognition, the Word. POSSIBILITIES: 293 121 293. POSSIBILITIES OBJECTS if not for another set of possibilities to replace those that had conditioned the land LAND, EARTH: 294, 295, 300 294. LAND A CONTAINER another set of possibilities to replace those that had conditioned the land to accept any San Narciso 295. LAND A BODY to accept any San Narciso among its most tender flesh without a reflex or a cry, 300. EARTH A HIDDEN OBJECT Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth. TRUTH’S BEAUTY: 302 302. TRUTH’S BEAUTY AN OBJECT IN A CONTAINER In the songs Miles, Dean, Serge and Leonard sang was either some fraction of the truth's numinous beauty (as Mucho now believed) or only a power spectrum POWER SPECTRUM: 303 303. POWER SPECTRUM AN OBJECT IN A CONTAINER In the songs Miles, Dean, Serge and Leonard sang 128 126. MADNESS IS A CONTAINER 261. BEING MAD IS OUT OF A CONTAINER 305. ECSTASY IS A MOVING CONTAINER 310. PARANOIA IS A CONTAINER MOVING AROUND AN OBJECT Metáfora Aspectos origen Aspectos meta 6. Fondo de un contenedor Momento agudo de una crisis 126. Interior de un contenedor Estado de locura 261. Objeto fuera de un contenedor Razón fuera de la mente 305. Contenedor en movimiento Desarrollo de un momento de éxtasis 310. Contenedor girando en torno a un objeto Síntoma que produce un estado de paranoia Mapeos de: 7. PANIC IS A LOCATION 24. SUPERSTITION IS A LOCATION 25. MAD IS A LOCATION 210. RELATIVE PARANOIA IS A LOCATION Metáfora Aspectos origen Aspectos meta 7. Lugar al que nos acercamos Estado de pánico a punto de manifestarse 24. Retirarse a un lugar Creer en supersticiones 25. Ir a un lugar Entrar en un estado de locura 210. Permanecer en un lugar Continuar en un estado de paranoia 129 Mapeos de: 165. HYSTERIA IS A HIDDEN OBJECT 198. HALLUCINATION IS A POSSESION 203. PSYCHOSIS IS A MEAT HOOK 306. ECSTASY IS AN OBJECT MOVING IN A CURVE PATH AROUND ANOTHER 307. PARANOIA IS AN OBJECT Metáfora Aspectos origen Aspectos meta 165. Esconder un objeto Disimular un estado de histeria 198. Cantidad poseída de un objeto Cantidad de alucinaciones de una persona 203. Carne sujetada por un gancho Psicosis en fase aguda 306. Objeto en la órbita de otro Éxtasis que acompaña a una paranoia 307. Objeto físico Manifestación del éxtasis Mapeos de: 118. PANIC IS A GROWING ENTITY INSIDE A CONTAINER 144. SEIZURE IS A VISITOR 224. PANIC IS A LIVING BEING GOING UP Metáfora Aspectos origen Aspectos meta 118. Crecimiento de un ser vivo Aumento de un estado de pánico 144. Una persona que nos visita a menudo a la que queremos agarrar Crisis repetidas en el tiempo que queremos analizar 130 224. Ser vivo que se mueve hacia arriba Estado de pánico que aumenta Mapeos de: 211. RELATIVE PARANOIA IS KNOWLEDGE Metáfora Aspectos origen Aspectos meta 211. Lugar donde conocemos a los demás Estado mental en el que sabemos distinguirnos de los demás Mapeos de: 279. PARANOIA IS OPPOSING FORCE Metáfora Aspectos origen Aspectos meta 279. Fuerza contra alguien Inducir en alguien un estado de paranoia Metáfora con dominio meta CONTROL Mapeos de: 8. CONTROL IS A POSSESION Metáfora Aspectos origen Aspectos meta 8. Posesión que perdemos Perder la capacidad de mantener el control de una situación Metáforas con dominio meta STORY Mapeos de: 131 12. A ROLE IS A CONTAINER 80. A PLAY IS A CONTAINER 301. A SONG IS A CONTAINER Metáfora Aspectos origen Aspectos meta 12. Entrar a un contenedor Adoptar el rol de un personaje 80. Entrar a un contenedor Sentirse absorbido por una obra de teatro Mapeos de: 78. A STORY IS A LOCATION 79. A PLAY IS A LOCATION Metáfora Aspectos origen Aspectos meta 78. Desconocimiento de las regiones de un lugar Desconocimiento de las partes de una historia 79. Lugar físico Entorno del personaje de una obra de teatro Mapeos de: 87. A PLAY IS AN OBJECT INSIDE A CONTAINER Metáfora Aspectos origen Aspectos meta 87. Objeto dentro de un contenedor Obra de teatro en la mente de un dramaturgo Metáforas con dominio meta LOCATION Mapeos de: 132 27. SAN NARCISO IS A CONTAINER YOU DRIVE INTO 180. CITY IS A CONTAINER 172. CITY IS A CONTAINER 270. SAN NARCISO IS A CONTAINER WITH NO BOUNDARIES Metáfora Aspectos origen Aspectos meta 27. Entrar en un contenedor Entrar en San Narciso 180. Entrar con seguridad a un contenedor Entrar con seguridad en una ciudad 172. Volver a entrar en un contenedor Volver a entrar en una ciudad 270. Contenedor sin paredes San Narciso sin fronteras Mapeos de: 13. KINNERET IS A PRISON Metáfora Aspectos origen Aspectos meta 13. Paredes de una prisión Pinos y neblina alrededor de Kinneret Mapeos de: 28. HOUSES AND STREETS ARE A CIRCUIT CARD Metáfora Aspectos origen Aspectos meta 28. Espiral ordenada de casas y calles Componentes de un circuito Mapeos de: 29. PATTERN OF CIRCUIT AND STREETS IS A HIEROGLYPH 297. CITY STREETS ARE A HIEROGLYPH 133 Metáfora Aspectos origen Aspectos meta 29. Patrón de circuitos y calles Estructura de un jeroglífico 297. Estructuras de las calles de una ciudad Estructura de un jeroglífico Mapeos de: 71. CALIFORNIA IS A REDEMTED PERSON 173. CITY IS AN INFECTED BEING 178. CITY IS A BODY 179. STREETS ARE VESSELS Metáfora Aspectos origen Aspectos meta 71. Redención de una persona Redención del Sur de California 173. Infección de un ser vivo Aspectos negativos de una ciudad 178. Sistema circulatorio de un ser vivo Calles de una ciudad 179. Venas por donde pasa la sangre Calles por donde pasan personas Mapeos de: 177. CITY IS A POSSESION 230. AMERICA IS A ROLLED OBJECT 268. SAN NARCISO IS A LOST OBJECT 269. SAN NARCISO IS A RESIDUE INSIDE A CONTAINER 271. AMERICA IS A POSSESION LEFT BEHIND 287. AMERICA IS A POSSESION 134 Metáfora Aspectos origen Aspectos meta 177. Poseer un objeto Poseer una ciudad 230. Dejar que se desenrolle un objeto Dejar que crezca América 268. Objeto perdido Idea de San Narciso se vuelve vaga 269. Residuo dentro de un contenedor Idea de San Narciso de Oedipa 271. Abandonar una posesión Abandonar partes poseídas de América 287. Poseer un objeto Poseer regiones que forman América Mapeos de: 272. AMERICA IS A LEGACY Metáfora Aspectos origen Aspectos meta 272. Valor que se deja en herencia Partes de América que se dejan en herencia Mapeos de: 285. AMERICA IS CODED INFORMATION Metáfora Aspectos origen Aspectos meta 285. Información de difícil acceso Ideas sobre América de difícil acceso Mapeos de: 296. SAN NARCISO IS A COMPUTER Metáfora Aspectos origen Aspectos meta 296. Matrices de un ordenador Calles de una ciudad 135 Mapeos de: 298. CITY STREETS ARE A HIDING PLACE 308. AMERICA IS A PLACE HIDING ANOTHER PLACE Metáfora Aspectos origen Aspectos meta 298. Lugar donde se esconde un objeto Calles incomprensibles de una ciudad 308. Un lugar impide la visión de otro lugar El legado de América impide la visión de otro lugar Mapeos de: 309. AMERICA IS A PLACE BEYOND AN APPEARANCE Metáfora Aspectos origen Aspectos meta 309. Lugar tras la apariencia de otro América tras la apariencia de América Mapeos de: 14. BEGINNING A RELATIONSHIP IS GOING INTO A BUILDING Metáfora Aspectos origen Aspectos meta 14. Acciones para entrar a un edificio Estrategias para comenzar una relación Metáforas con dominio meta EMPTY SPACE Mapeos de: 16. EMPTY SPACE IS A CONTAINER THAT CANNOT BE FILLED 136 194. EMPTY SPACE IS A CONTAINER WITH NO ENTRANCE Metáfora Aspectos origen Aspectos meta 16. Meter elementos en un contenedor Añadir elementos al mundo 194. Entrar en un contenedor Entrar en el vacío Mapeos de: 262. EMPTY SPACE IS A DIFFICULT SITUATION 263. EMPTY SPACE IS REALIZING ABOUT DIFFICULT SITUATION Metáfora Aspectos origen Aspectos meta 262. Aprender a manejar una situación difícil Aprender a respirar en el vacío 263. Percibir una dificultad Percibir el vacío Mapeos de: 17. WORLD IS A CONTAINER 188. WORLD IS A CONTAINER 199. WORLD IS A CONTAINER Metáfora Aspectos origen Aspectos meta 17. Elementos dentro de un contenedor Elementos del mundo 188. Un objeto entrando en un contenedor Un mundo entrando en otro mundo 199. Rastro del paso por un contenedor Rastro de paso por el mundo 137 Mapeos de: 112. WORLD IS A PROJECTION Metáfora Aspectos origen Aspectos meta 112. Proyectar una imagen Crear un mundo Mapeos de: 143. WORLD IS A MOVING OBJECT ALONG A PATH 189. ANOTHER WORLD IS AN OBJECT ENTERING A CONTAINER 226. WORLD IS A SUBSTANCE Metáfora Aspectos origen Aspectos meta 143. Objeto móvil que regresa a un punto por donde ha pasado Mundo que regresa a un estado anterior 189. Persona no bienvenida entrando en un contenedor Mundo no bienvenido entrando en otro mundo 226. Abundancia de una sustancia Abundancia de elementos del mundo Mapeos de: 195. SEPARATE WORLD IS ANOTHER LOCATION 227. 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Zeman A., Milton F., Smith A. y Rylance R. 2013. “By heart: an fMRI study of brain activation by poetry and prose”. En Journal of Consciousness Studies, (20); 132–158. 242 Zunshine, L. 2012. Getting Inside Your Head: What Cognitive Science Can Tell Us About Popular Culture. Baltimore, MD: The Johns Hopkins University Press. 243 244 EUROPEAN PhD THESIS Biopoetics, Cognition and Emotion. Conceptual integration and emergence in Thomas Pynchon’s The Crying Of Lot 49. Author: Marta Silvera Roig PhD Thesis supervisor: Juana Teresa Guerra de la Torre English summarised version Las Palmas de Gran Canaria 2015 245 0. Introduction. Language is froth on the surface of thought (John McCarthy) The 21st century is the mind century. Born in the second half of last century, Neuroscience grows exponentially: From the studies that investigate macroscopic connections, to the studies that focus on microscopic axons and individual synapses. In the ambitious task of creating a connectome – a map of neural connections – one of the most important goals is to understand how this neuronal activity creates experience. Neuroscience only exists in an interdisciplinary nature, we are not just a brain, we are the continuous interaction of mind, body and world, in its infinite variables and forms. Cognition is embodied, situated, distributed, synergic and dissipative: our minds are emotional, artistic, literary and creative. Therefore, Cognitive Sciences are Neuroscience, but also Psychology, Linguistics, Neurophysiology, Sociology, Anthropology, Biology, Artificial Intelligence and Literary Studies. Human reality is inherently sociocultural, its action is indivisible of individual activity, therefore, the morphodynamics of language is a biocultural complex system in its assembly of structures (conceptual structures) and processes (conceptualization). In the mentioned context of bridges between Science and Humanities, Cognitive Linguistics and Cognitive Poetics shape a bond, not lacking tension and disagreement, absolutely necessary to go deep into the cognitive processes of meaning configuration, towards Biopoetics. Biopoetics is the interdisciplinary continuum of Cognitive Sciences, a basic inclusive approach to create a (meta)cognitive theory which integrates embodied biocultural reality of mind and language. The language and cognition integration mechanism show a pre-conceptual level where concepts and emotions are still undifferentiated; its integration dynamics develop from local complexities to global complexities, which continuously affect each other. The aim of this Thesis is presenting and analysis about the emergence of meaning in one of the most complex dynamic systems: A postmodern literary text. In 246 the first part of this work, we explain the state of the arts from the first to the second cognitive revolution, adding the theoretical basis and methods we will use in the conceptual analysis of the text. Next, we go in depth in describing Cognitive Linguistics models, the so called Idealized Cognitive Models: image schemas, the new Metaphor Theory, and Conceptual Blending. We also present the somatic markers hypothesis and the Affective Neuroscience basis as indivisible theories of the former in the emotion and meaning organization of our conceptual system. These models and hypothesis make up a robust touchstone in the Literary Studies from Bipoetics, and we propose that the latter can contribute in a relevant way to the understanding of the former. In the second part of this study we present the analyzed novel, The Crying Of Lot 49, by Thomas Pynchon, in its context as a postmodern literary work in English language. The paradigmatic change, but nevertheless constant, from modernism to postmodernism, the novel as living dialogue and its multiple levels of complex dynamics, and the meaning emergence of the most creative integrations, make the chosen text a highly rich corpus to our analysis. In the next section we develop the descriptive concepts we will analyze later on: CONTAINER and LOCATION, as image schemas in the space construction in the novel that motivate the continuous self-organizations of the narrative; the conceptual metaphors which guide prominent concepts in the whole text (such as ENTROPY, TRUTH, LIFE and WORLD); the conceptual blends from which emerge mental spaces; and the interaction of all of these with the emotion inherent to the biological anchor of meaning construction. In the second part of the Thesis we accomplish and account about chaos theories and their application to language dynamics and narratives description, together with creation (morphogenesis) and use (dynamics), and their relation with the ideas that define postmodernism. The importance of chaos theories lie in accepting the complexity and chaotic behavior (deterministic and no-lineal) of natural and artificial forms. Thus, narratives rely on the fluctuating conditions of the environment and interact with it in constant interdependence. In chaos theories forms are singular, irreversible, diverse and sensible to its initial conditions of emergence. 247 In our account of deterministic chaos theories we describe the postmodern mind in a historical sociocultural context marked by technologic revolution, the new communications era, and special fragmentation of is meaning conceptualizations. Postmodern narratives are dissipative systems of high creativity, indivisible of the embodied minds that shape them. For this reason, we have established a bond between complexity, creation and emotion as the theoretical frame where postmodern narratives take place. Following, we present The Crying Of Lot 49 as an entropy modeler. The literary criticism about Thomas Pynchon is abundant, Pynchon is seen by many as a rupturist writer because of his not conformity with the linearity of classical narrative. Up to now, literary criticism has been tied to text interpretation by hermeneutics, with approaches which go from gender theories to historical materialism. Here, we propose that a meaning integration analysis in the novel is essential to understand the entropy conceptualization, the search, and emotions in the text dynamics. The third part of the Thesis establishes an approach from Biopoetics to the spatial organization of the poetic act. Thus, we propose that action in space motivates nuclear metaphors and blends that make possible the construction of new meaning. From spatial image schemas, the mental spaces that construct entropy and emotion are our basis to observe the cognitive-affective organization of the narrative system. Following we present a 131 conceptual metaphors list of the analyzed linguistic metaphorical expressions, a classification according to their target domain and corresponding source domain, the metaphorical focus, and the mappings between source and target domains. In the next section we explain how the conceptual metaphors behave and evolve in the course of the novel, and the double scope blends in which several mental spaces projections create a new space of emerging meaning. The last blend is a representation of how of how does organize the text dynamics in the whole novel. In the next section we describe how do primary metaphors guide the construction of the concept ENTROPY, idea that go over the narrative configuration in a ubiquitous manner. Following, we propose how could the somatic markers hypothesis – from neurobiology to affective neuroscience – act in a synergic way together with the 254 28. HOUSES AND STREETS ARE A CIRCUIT CARD 29. PATTERN OF CIRCUIT AND STREETS IS A HIEROGLYPH 30. MEANING IS A HIDDEN OBJECT 31. PRINTED CIRCUIT IS A PERSON WITH INFORMATION TO TELL 32. REVELATION IS A LIVING ENTITY GOINT INTO A CONTAINER 33. HEAD IS A HOUSE She drove into San Narciso on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull brown earth; and she thought of the time she'd opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There'd seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narciso, a revelation also trembled just past the threshold of her understanding. (pp.14, 15) 34. INSTANT IS A LOCATION YOU STAY AT 35. FREQUENCY IS A LOCATION 36. WORDS ARE UNNOTICED COLD Smog hung all-round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed parked at the centre of an odd, religious instant. As if, on some other frequency, or out of the eye of some whirlwind rotating too slow for her heated skin even to feel the centrifugal coolness of, words were being spoken. (p.15) 37. INMEDIACY IS A MOVING OBJECT ALONG A PATH 38. PROMISE OF HIEROPHANT IS A MOVING OBJECT ALONG A PATH Some immediacy was there again, some promise of hierophant: printed circuit, gently curving streets, private access to the water, Book of the Dead. (p.20) 39. HEAD IS A CONTAINER 40. HEADACHE IS A PLANT 41. TIME IS A MOVING OBJECT YOU CAN SLOW DOWN 255 Oedipa would scowl back, growing more and more certain, while a headache began to flower behind her eyes, that they among all possible combinations of new lovers had found a way to make time itself slow down. (p.27) Chapter three: 42. TRYSTERO IS AN OBJECT 43. OEDIPA IS AN OBJECT INSIDE A CLOSED CONTAINER 44. TRYSTERO IS A LIBERATOR 45. INFIDELITY IS A STARTING POINT IN A PATH 46. IDEAS ARE PIECES WHICH FIT TOGETHER 47. REVELATION IS A MOVING ENTITY AROUND OEDIPA 48. STAMP COLLECTION IS A CONTAINER 49. STAMPS ARE WINDOWS 50. SPACE AND TIME ARE VIEWS THROUGH A WINDOW 51. DIFFICULT TASKS ARE HEADACHES 52. STAMP COLLECTION IS A PERSON 53. STAMP COLLECTION IS A LOVER 54. DEATH IS A CHEATING LOVER Things then did not delay in turning curious. If one object behind her discovery of what she was to label the Tristero System or often only The Tristero (as if it might be something's secret title) were to bring to an end her encapsulation in her tower, then that night's infidelity with Metzger would logically be the starting point for it; logically. That's what would come to haunt her most, perhaps: the way it fitted, logically, together. As if (as she'd guessed that first minute in San Narciso) there were revelation in progress all around her. Much of the revelation was to come through the stamp collection Pierce had left, his substitute often for her thousands of little colored windows into deep vistas of space and time: savannahs teeming with elands and gazelles, galleons sailing west into the void, Hitler heads, sunsets, cedars of Lebanon, allegorical faces that never were, he could spend hours peering into each one, ignoring her. She had never seen the fascination. The thought that now it would all have to be inventoried and appraised was only another headache. No suspicion at all that it might have something to tell her. Yet if she hadn't been set up or sensitized, first by her peculiar seduction, then by the other, almost offhand things, what after all could the 256 mute stamps have told her, remaining then as they would've only ex-rivals, cheated as she by death, about to be broken up into lots, on route to any number of new masters? (p.29) 55. TRYSTERO IS A PLANT 56. TRYSTERO IS A WEAK IN FORCE ENTITY 57. LIFE EVENTS ARE PERFORMANCES 58. BREAKAWAY OF HISTORICAL FIGURATION IS A REVELATION 59. DAWN IS A LOCATION 60. NAKEDNESS IS A SCARY IMAGE 61. TRYSTERO IS A NAKED PERSON So began, for Oedipa, the languid, sinister blooming of The Tristero. Or rather, her attendance at some unique performance, prolonged as if it were the last of the night, something a little extra for whoever'd stayed this late. As if the breakaway gowns, net bras, jeweled garters and G-strings of historical figuration that would fall away were layered dense as Oedipa's own street-clothes in that game with Metzger in front of the Baby Igor movie; as if a plunge toward dawn indefinite black hours long would indeed be necessary before The Tristero could be revealed in its terrible nakedness. (pág.36) 62. SOMNOLENCE IS A LOCATION 63. PACIFIC IS AN INDIFFERENT PERSON 64. PACIFIC IS A HOLE THE MOON LEFT 65. PACIFIC IS A MONUMENT 66. SOMETHING YOU CANNOT HEAR OR SMELL IS A PHYSICAL ENTITY 67. SOMETHING TIDAL IS AN OBJECT MOVING ALONG A PATH 68. SOMETHING UNKNOWN IS A FREQUENCY 69. FEELERS IS A BRAIN NERVE 70. BRAIN IS A COMPUTER the more inland somnolence of San Narciso did lack, lurked the sea, the unimaginable Pacific, the one to which all surfers, beach pads, sewage disposal schemes, tourist incursions, sunned homosexuality, chartered fishing are irrelevant, the hole left by the moon's tearing-free and monument to her exile; you could not hear or even smell this 257 but it was there, something tidal began to reach feelers in past eyes and eardrums, perhaps to arouse fractions of brain current your most gossamer microelectrode is yet too gross for finding. (pp.36, 37) 71. CALIFORNIA IS A REDEMPTED PERSON 72. PACIFIC IS A REDEEMER 73. PACIFIC IS A CONTAINER 74. UGLINESS IS A SUBSTANCE IN A CONTAINER 75. TRUTH IS A SUBSTANCE IN A CONTAINER Oedipa had believed, long before leaving Kinneret, in some principle of the sea as redemption for Southern California (not, of course, for her own section of the state, which seemed to need none), some unvoiced idea that no matter what you did to its edges the true Pacific stayed inviolate and integrated or assumed the ugliness at any edge into some more general truth. (p.37) 76. MEMORY IS A ROLLED OBJECT 77. REMEMBERING IS UNLOOPING A ROLLED OBJECT 78. A STORY IS A LOCATION and hearing the plot of The Courier's Tragedy, by Richard Wharfinger, related near to unintelligible by eight memories unlooping progressively into regions as strange to map as their rising coils and clouds of pot smoke. It got so confusing that next day Oedipa decided to go see the play itself. (p.43) 79. A PLAY IS A LOCATION 80. A PLAY IS A CONTAINER Oedipa found herself after five minutes sucked utterly into the landscape of evil Richard Wharfinger had fashioned for his seventeenth-century audiences, so preapocalyptic, death-wishful, sensually fatigued, unprepared, a little poignantly, for that abyss of civil war that had been waiting, cold and deep, only a few years ahead of them. (pp.43, 44) 81. TRYSTERO IS A PERSON 82. WORD IS FORCE No hallowed skein of stars can ward, I trow, who’s once been set his tryst with Trystero. 258 Trystero. The word hung in the air as the act ended and all lights were for a moment cut; hung in the dark to puzzle Oedipa Maas, but not yet to exert the power over her it was to. (pp.50, 51) 83. CHAOS IS A CONTAINER 84. CHAOS IS INTERFERING EMISSIONS 85. ANTENA IS A CONTAINER 86. BODY NERVES ARE TRANSMITTERS She walked in on soft, elegant chaos, an impression of emanations, mutually interfering, from the stub-antennas of everybody's exposed nerve endings. (p.52) 87. PLAY IS AN OBJECT INSIDE A CONTAINER 88. HEAD IS A CONTAINER 89. WORD IS A ROTE NOISE 90. MEMORY IS A DESTINATION IN A PATH 91. REALITY IS AN OBJECT INSIDE A CONTAINER 92. A PERSON IS A PROJECTOR DEVICE 93. UNIVERSE IS A PERFORMANCE 94. PERSON IS A CONTAINER 95. BODY ORIFICES ARE LENSES You know where that play exists, not in that file cabinet, not in any paperback you're looking for, but" - a hand emerged from the veil of shower-steam to indicate his suspended head - "in here. That's what I'm for. To give the spirit flesh. The words, who cares? They're rote noises to hold line bashes with, to get past the bone barriers around an actor's memory, right? But the reality is in this head. Mine. I'm the projector at the planetarium, all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, sometimes other orifices also." (pp.53, 54) 96. LIFE IS A RESOURCE 97. TRUTH IS A PHYSICAL ENTITY "You could fall in love with me, you can talk to my shrink, you can hide a tape recorder in my bedroom, see what I talk about from wherever I am when I sleep. You want to do that? You can put together clues, develop a thesis, or several, about why characters reacted to the Trystero possibility the way they did, why the assassins came on, why the 259 black costumes. You could waste your life that way and never touch the truth. Wharfinger supplied words and a yarn. I gave them life. That's it." He fell silent. (p.54) Chapter four: 98. TEXT IS A MOVING OBJECT ALONG A PATH 99. REVELATION IS A LIVING ENTITY 100. OEDIPA IS A CONTAINER FOR A COLLECTION OF OBJECTS 101. PERCEPTIONS AND THOUGHTS ARE THREADS OF A CLOTH 102. TRYSTERO IS A CLOTH Though she saw Mike Fallopian again, and did trace the text of The Courier's Tragedy a certain distance, these follow-ups were no more disquieting than other revelations which now seemed to come crowding in exponentially, as if the more she collected the more would come to her, until everything she saw, smelled, dreamed, remembered, would somehow come to be woven into The Tristero. (p.56) 103. LIFE IS A PATH 104. DEATH IS A DESTINATION IN A PATH 105. LIFE IS A VALUABLE OBJECT 106. OEDIPA IS A PROJECTOR MACHINE 107. LIFE IS BEING SUROUNDED BY A DOME 108. MEANING IS A CONTAINER 109. MEANING IS A GROUP OF STARS 110. MEANING IS A DOME AROUND OEDIPA 111. IGNORANCE IS AN OBSTACLE IN A PATH For one thing, she read over the will more closely. If it was really Pierce's attempt to leave an organized something behind after his own annihilation, then it was part of her duty, wasn't it, to bestow life on what had persisted, to try to be what Driblette was, the dark machine in the centre of the planetarium, to bring the estate into pulsing stelliferous Meaning, all in a soaring dome around her? If only so much didn't stand in her way: her deep ignorance of law, of investment, of real estate, ultimately of the dead man himself. (p.56) 112. WORLD IS A PROJECTION 113. MEANING IS CONSTELATION OF STARS 260 114. KNOWLEDGE IS TRACING CONSTELLATIONS Under the symbol she'd copied off the latrine wall of The Scope into her memo book, she wrote Shall I project a world? If not project then at least flash some arrow on the dome to skitter among constellations and trace out your Dragon, Whale, Southern Cross. Anything might help. (p.56) 115. GOING TO ANOTHER LOCATION IS OUTSIDE FORCE 116. INERTIA IS A LOCATION WHERE YOU CANNOT MOVE It was some such feeling that got her up early one morning to go to a Yoyodyne stockholders' meeting. There was nothing she could do at it, yet she felt it might redeem her a little from inertia. (p.56) 117. MURMUR IS A LOCATION 118. PANIC IS A GROWING LIVING ENTITY INSIDE A CONTAINER 119. HEAD IS A CONTAINER Somehow Oedipa got lost. One minute she was gazing at a mockup of a space capsule, safely surrounded by old, somnolent men; the next, alone in a great, fluorescent murmur of office activity. As far as she could see in any direction it was white or pastel: men's shirts, papers, drawing boards. All she could think of was to put on her shades for all this light, and wait for somebody to rescue her. But nobody noticed. She began to wander aisles among light blue desks, turning a corner now and then. Heads came up at the sound of her heels, engineers stared until she'd passed, but nobody spoke to her. Five or ten minutes went by this way, panic growing inside her head: there seemed no way out of the area. Then, by accident (Dr Hilarius, if asked, would accuse her of using subliminal cues in the environment to guide her to a particular person) or howsoever, she came on one Stanley Koteks, who wore wire-rim bifocals, sandals, argyle socks, and at first glance seemed too young to be working here. (p.58) 120. INTELLIGENCE IS A LIVING ENTITY 121. MOLECULES ARE OBJECTS 122. MOLECULES ARE CONTAINERS 123. SYSTEM IS A CONTAINER 124. WORK IS AN OBJECT 125. NOTHING IS A CONTAINER 261 "Who's that with the beard?" asked Oedipa. James Clerk Maxwell, explained Koteks, a famous Scotch scientist who had once postulated a tiny intelligence, known as Maxwell's Demon. The Demon could sit in a box among air molecules that were moving at all different random speeds, and sort out the fast molecules from the slow ones. Fast molecules have more energy than slow ones. Concentrate enough of them in one place and you have a region of high temperature. You can then use the difference in temperature between this hot region of the box and any cooler region, to drive a heat engine. Since the Demon only sat and sorted, you wouldn't have put any real work into the system. So you would be violating the Second Law of Thermodynamics, getting something for nothing, causing perpetual, motion. (p.59) 126. PRESENCE OF MADNESS IS A CONTAINER all with Yoyodyne was normal. Except right here, where Oedipa Maas, with a thousand other people to choose from, had had to walk uncoerced into the presence of madness. (pág.60) 127. REVELATIONS ARE PATTERNS Oedipa sat alone and gloomy. She'd decided to come tonight to The Scope not only because of the encounter with Stanley Koteks, but also because of other revelations; because it seemed that a pattern was beginning to emerge, having to do with the mail and how it was delivered. (p.61) 128. READING WORDS IS ILLUMINATING A DARK PHYSICAL ENTITY 129. WORD IS A DARK PHYSICAL ENTITY Another reading of that line might help light further the dark face of the word. (p.62) 130. OBSSESION IS A LIVING ENTITY 131. OEDIPA IS A CONTAINER 132. PRESENCE IS AN OBJECT 133. BUSINESS INTERESTS ARE A LOCATION 134. CREATING MEANING IS GIVING ORDER TO OBJECTS She had caught sight of the historical marker only because she'd gone back, deliberately, to Lake Inverarity one day, owing to this, what you might have to call, growing 262 obsession, with "bringing something of herself" even if that something was just her presence to the scatter of business interests that had survived Inverarity. She would give them order, she would create constellations; next day she drove out to Vesperhaven House, a home for senior citizens that Inveracity had put up around the time Yoyodyne came to San Narciso. (pp.62, 63) 135. FATIGUED BRAIN CELL IS AN OBSTACLE IN A PATH 136. TRUTH IS A DESTINATION IN A PATH Odds are the author will be dead. There's no way to trace it, unless you want to follow up an accidental correlation, like you got from the old man." "You think it's really a correlation?" She thought of how tenuous it was, like a long white hair, over a century long. Two very old men. All these fatigued brain cells between herself and the truth. (pp.64, 65) 137. MEMORY IS A COMPILED OBJECT 138. TRUTH IS A POSSESION 139. TRUTH IS A BRIGHT OBJECT INSIDE A CONTAINER 140. TRUTH IS A CONTAINER 141. MEMORY IS A CONTAINER 142. ABSENCE OF TRUTH IS A BLANK 143. WORLD IS A MOVING OBJECT ALONG A PATH 144. SEIZURE IS A VISITOR 145. LIFE IS A LOCATION YOU CAN GET LOST IN Oedipa wondered whether, at the end of this (if it were supposed to end), she too might not be left with only compiled memories of clues, announcements, intimations, but never the central truth itself, which must somehow each time be too bright for her memory to hold; which must always blaze out, destroying its own message irreversibly, leaving an overexposed blank when the ordinary world came back. In the space of a sip of dandelion wine it came to her that she would never know how many times such a seizure may already have visited, or how to grasp it should it visit again. Perhaps even in this last second but there was no way to tell. She glanced down the corridor of Cohen's rooms in the rain and saw, for the very first time, how far it might be possible to get lost in this. (p.66) 263 Chapter five: 146. ENTROPY IS A POSSESSION 147. INFORMATION IS AN OBJECT "You know how this works?" "Stanley gave me a kind of rundown." He began then, bewilderingly, to talk about something called entropy. The word bothered him as much as "Trystero" bothered Oedipa. But it was too technical for her. She did gather that there were two distinct kinds of this entropy. One having to do with heat-engines, the other to do with communication. The equation for one, back in the '3o's, had looked very like the equation for the other. It was a coincidence. The two fields were entirely unconnected, except at one point: Maxwell's Demon. As the Demon sat and sorted his molecules into hot and cold, the system was said to lose entropy. But somehow the loss was offset by the information the Demon gained about what molecules were where. (p.72) 148. INFORMATION IS AN OBJECT 149. SENSITIVE PERSON IS A CONTAINER 150. INFORMATION IS AN OBJECT INSIDE A CONTAINER 151. ENERGY IS AN OBJECT 152. INFORMATION IS AN OBJECT 153. OEDIPA IS A DESTINATION IN A PATH "Communication is the key," cried Nefastis. "The Demon passes his data on to the sensitive, and the sensitive must reply in kind. There are untold billions of molecules in that box. The Demon collects data on each and every one. At some deep psychic level he must get through. The sensitive must receive that staggering set of energies, and feedback something like the same quantity of information. To keep it all cycling. On the secular level all we can see is one piston, hopefully moving. One little movement, against all that massive complex of information, destroyed over and over with each power stroke." "Help," said Oedipa, "you're not reaching me." (pp.72, 73) 154. ENTROPY IS A BRIDGE "Entropy is a figure of speech, then," sighed Nefastis, "a metaphor. It connects the world of thermo-dynamics to the world of information flow. The Machine uses both. 270 He's losing his identity, Edna, how else can I put it? Day by day, Wendell is less himself and more generic. He enters a staff meeting and the room is suddenly full of people, you know? He's a walking assembly of man." (p.97) 224. PANIC IS A LIVING BEING GOING UP 225. HEAD IS A CONTAINER She didn't know him. Panic started to climb out of a dark region in her head. (p.99) 226. WORLD IS A SUBSTANCE 227. WORLD IS AN EXTENSE LOCATION "But there may be a chance you're not addicted yet." "Oed," looking at her puzzled, "you don't get addicted. It's not like you're some hophead. You take it because it's good. Because you hear and see things, even smell them, taste like you never could. Because the world is so abundant. No end to it, baby. (p.99) 228. HEAD IS A CONTAINER 229. IDEA IS AN OBJECT INSIDE A CONTAINER She remembered. Now he would never be spooked again, not as long as he had the pills. She could not quite get it into her head that the day she'd left him for San Narciso was the day she'd seen Mucho for the last time. (p.100) Chapter six: 230. AMERICA IS A ROLLED OBJECT This is America, you live in it, you let it happen. Let it unfurl. (p.103) 231. MUCHO IS A HOUSE 232. MUCHO IS A CHILD IN A CANDY HOUSE 233. LOVE IS A LOCATION 234. TRYSTERO IS A LOCATION IN A PATH 235. LOST IS BEING ALONE My shrink, pursued by Israelis, has gone mad; my husband, on LSD, gropes like a child further and further into the rooms and endless rooms of the elaborate candy house of 271 himself and away, hopelessly away, from what has passed, I was hoping forever, for love; my one extra fella has eloped with a depraved 15-year-old; my best guide back to the Trystero has taken a Brody. Where am I? (p.105) 236. AFTERNOON SMOG IS A LOCATION 237. OEDIPA IS A CONTAINER 238. MIND IS A BODY The day after reading Blobb's Peregrinations she, with Bortz, Grace, and the graduate students, attended Randolph Driblette's burial, listened to a younger brother's helpless, stricken eulogy, watched the mother, spectral in afternoon smog, cry, and came back at night to sit on the grave and drink Napa Valley muscatel, which Driblette in his time had put away barrels of. There was no moon, smog covered the stars, all black as a Tristero rider. Oedipa sat on the earth, ass getting cold, wondering whether, as Driblette had suggested that night from the shower, some version of herself hadn't vanished with him. Perhaps her mind would go on flexing psychic muscles that no longer existed; would be betrayed and mocked by a phantom self as the amputee is by a phantom limb. Someday she might replace whatever of her had gone away by some prosthetic device, a dress of a certain color, a phrase in a ' letter, another lover. (p.111) 239. MEMORY (WINGED SHAPE) IS AN OBJECT YOU REACH 240. PROTEIN IS AN OBJECT 241. QUIESCENCE IS A STUBBORN PERSON 242. OEDIPA IS A CONTAINER 243. QUIESCENCE IS AN OBJECT EMERGING FROM THE EARTH 244. HEART IS A SACRED PLACE 245. PROTEIN IS A PERSON HOLDING AN OBJECT 246. QUIESCENTE IS A PERSON HOLDING AN OBJECT 247. OEDIPA IS A CONTAINER 248. LABYRINTH IS A CONTAINER FOR INFORMATION 249. BRAIN IS A CONTAINER 250. BRAIN IS A MACHINE She tried to reach out, to whatever coded tenacity of protein might improbably have held on six feet below, still resisting decay any stubborn quiescence perhaps gathering itself for some last burst, some last scramble up through earth, just-glimmering, holding 272 together with its final strength a transient, winged shape, needing to settle at once in the warm host, or dissipate forever into the dark. If you come to me, prayed Oedipa, bring your memories of the last night. Or if you have to keep down your payload, the last five minutes that may be enough. But so I'll know if your walk into the sea had anything to do with Tristero. If they got rid of you for the reason they got rid of Hilarius and Mucho and Metzger maybe because they thought I no longer needed you. They were wrong. I needed you. Only bring me that memory, and you can live with me for whatever time I've got. She remembered his head, floating in the shower, saying, you could fall in love with me. But could she have saved him? She looked over at the girl who'd given her the news of his death. Had they been in love? Did she know why Driblette had put in those two extra lines that night? Had he even known why? No one could begin to trace it. A hundred hangups, permuted, combined sex, money, illness, despair with the history of his time and place, who knew. Changing the script had no clearer motive than his suicide. There was the same whimsy to both. Perhaps she felt briefly penetrated, as if the bright winged thing had actually made it to the sanctuary of her heart, perhaps, springing from the same slick labyrinth, adding those two lines had even, in a way never to be explained, served him as a rehearsal for his night's walk away into that vast sink of the primal blood the Pacific. She waited for the winged brightness to announce its safe arrival. But there was silence. Driblette, she called. The signal echoing down twisted miles of brain circuitry. Driblette! But as with Maxwell's Demon, so now. Either she could not communicate, or he did not exist. (pp.111, 112) 251. LINE OF COMMUNICATION IS A CONTROLLING FORCE The crowd hushes, 'The salvation of Europe,' Konrad says, 'depends on communication, right? We face this anarchy of jealous German princes, hundreds of them scheming, counter scheming, infighting, dissipating all of the Empire's strength in their useless bickering. But whoever could control the lines of communication, among all these princes, would control them. That network someday could unify the Continent. (p.113) 252. HOAX IS AN OBJECT 253. HOAX IS A PHYSICAL ENTITY "Has it ever occurred to you, Oedipa, that / somebody's putting you on? That this is all a hoax, maybe something Inverarity set up before he died?" It had occurred to her. But 273 like the thought that someday she would have to die, Oedipa had been steadfastly refusing to look at that possibility directly, in any but the most accidental of lights. (pp.115, 116) 254. TRYSTERO IS A LOCATION IN A PATH 255. INVERARITY STATE IS A LOCATION Sure enough, the whole shopping center that housed Zapf's Used Books and Tremaine's surplus place had been owned by Pierce. Not only that, but the Tank Theatre, also. OK, Oedipa told herself, stalking around the room, her viscera hollow, waiting on something truly terrible, OK. It's unavoidable, isn't it? Every access route to the Tristero could be traced also back to the Inverarity estate. Even Emory Bortz, with his copy of Blobb's Peregrinations (bought, she had no doubt he'd tell her in the event she asked, also at Zapf's), taught now at San Narciso College, heavily endowed by the dead man. (p.117) 256. DREAM IS A LOCATION 257. NETWORK OF COMMUNICATION IS A LOCATION 258. ALTERNATIVE TO EXISTLESSNESS IS A LOCATION 259. ALTERNATIVE TO THE ABSENCE OF SURPRISE IS A LOCATION 260. SKULL IS A CONTAINER 261. BEING MAD IS GOING OUT A CONTAINER Meaning what? That Bortz, along with Metzger, Cohen, Driblette, Koteks, the tattooed sailor in San Francisco, the W.A.S.T.E. carriers she'd seen that all of them were Pierce Inverarity's men? Bought? Or loyal, for free, for fun, to some grandiose practical joke he'd cooked up, all for her embarrassment, or terrorizing, or moral improvement? Change your name to Miles, Dean, Serge, and /or Leonard, baby, she advised her reflection in the hall; light of that afternoon's vanity mirror. Either way, they'll call it paranoia. They. Either you have stumbled indeed, without the aid of LSD or other in dole alkaloids, onto a secret richness and concealed density of dream; onto a network by which X number of Americans are truly communicating whilst reserving their lies, recitations of routine, arid betrayals of spiritual poverty, for the official government delivery system; maybe even onto a real alternative to the exitlessness, to the absence of surprise to life, that harrows the head of everybody American you know, and you too, sweetie. Or you are 274 hallucinating it. Or a plot has been mounted against you, so expensive and elaborate, involving items like the forging of stamps and ancient books, constant surveillance of your movements, planting of post horn images all over San Francisco, bribing of librarians, hiring of professional actors and Pierce Inverarity only knows what-all besides, all financed out of the estate in a way either too secret or too involved for your non-legal mind to know about even though you are coexecutor, so labyrinthine that it must have meaning beyond just a practical joke. Or you are fantasying some such plot, in which case you are a nut, Oedipa, out of your skull. (pp.117, 118) 262. EMPTY SPACE IS A DIFFICULT SITUATION 263. EMPTY SPACE IS REALIZING ABOUT A DIFFICULTY Those, now that she was looking at them, she saw to be the alternatives. Those symmetrical four. She didn't like any of them, but hoped she was mentally ill; that that's all it was. That night she sat for hours, too numb even to drink, teaching herself to breathe in a vacuum. For this, oh God, was the void. There was nobody who could help her. Nobody in the world. They were all on something, mad, possible enemies, dead. (p.118) 264. OEDIPA IS A CONTAINER THAT CAN CLOSE ITSELF 265. NIGHT IS A LOCATION 266. ORIENTATION IS AN OBJECT YOU LOOSE 267. OEDIPA AS A CONTAINER 268. SAN NARCISO IS A LOST OBJECT 269. SAN NARCISO IS A RESIDUE INSIDE OEDIPA "Arnold," he said. There was a long stretch of bar noise. "It's over," she said, "they've saturated me. From here on I'll only close them out. You're free. Released. You can tell me." "It's too late," he said. "For me?" "For me." Before she could ask what he meant, he'd hung up. She had no more coins. By the time she could get somewhere to break a bill, he'd be gone. She stood between the public booth and the rented car, in the night, her isolation complete, and tried to face toward the sea. But she'd lost her bearings. She turned, pivoting on one stacked heel, could find no mountains either. As if there could be no barriers between herself and the rest of the land. San Narciso at that moment lost (the loss pure, instant, spherical, the sound of a stainless orchestral chime held among the stars and struck lightly), gave up its residue of uniqueness for her. (pp.122, 123) 275 270. SAN NARCISO IS A CONTAINER WITH NO BOUNDARIES 271. AMERICA IS A POSSESSION LEFT BEHIND 272. AMERICA IS A LEGACY There was the true continuity, San Narciso had no boundaries. No one knew yet how to draw them. She had dedicated herself, weeks ago, to making sense of what Inveracity had left behind, never suspecting that the legacy was America. (p.123) 273. AN ENIGMA IS A LOCATION WITH NO WAY OUT Might Oedipa Maas yet be his heiress; had that been in the will, in code, perhaps without Pierce really knowing, having been by then too seized by some headlong expansion of himself, some visit, some lucid instruction? Though she could never again call back any image of the dead man to dress up, pose, talk to and make answer, neither would she lose a new compassion for the cul-de-sac he'd tried to find a way out of, for the enigma his efforts had created. (p.123) 274. LOVE IS A POSSESSION 275. BITTERNESS IS A SUBSTANCE INSIDE A CONTAINER Though he had never talked business with her, she had known it to be a fraction of him that couldn't come out even, would carry forever beyond any decimal place she might name; her love, such as it had been, remaining incommensurate with his need to possess, to alter the land, to bring new skylines, personal antagonisms, growth rates into being. "Keep it bouncing," he'd told her once, "that's all the secret, keep it bouncing." He must have known, writing the will, facing the specter, how the bouncing would stop. He might have written the testament only to harass a one-time mistress, so cynically sure of being wiped out he could throw away all hope of anything more. Bitterness could have run that deep in him. She just didn't know. (p.123) 276. TRYSTERO IS ENCRYPTED INFORMATION 277. WILL IS A CONTAINER 278. DEATH IS OPPOSING FORCE 279. PARANOIA IS OPPOSING FORCE 280. TRYSTERO IS AN OBJECT 281. PRESENCE IS A LOCATION 282. INFORMATION IS TRACKS ON THE SKY 276 283. NIGHT IS A LOCATION He might himself have discovered The Tristero, and encrypted that in the will, buying into just enough to be sure she'd find it. Or he might even have tried to survive death, as a paranoia; as a pure conspiracy against someone he loved. Would that breed of perversity prove at last too keen to be stunned even by death, had a plot finally been devised too elaborate for the dark Angel to hold at once, in his humorless vicepresident's head, all the possibilities of? Had something slipped through and Inveracity by that much beaten death? Yet she knew, head down, stumbling along over the cinder bed and its old sleepers, there was still that other chance. That it was all true. That Inverarity had only died, nothing else. Suppose, God, there really was a Tristero then and that she had come on it by accident. If San Narciso and the estate were really no different from any other town, any other estate, then by that continuity she might have found The Tristero anywhere in her Republic, through any of a hundred lightlyconcealed entranceways, a hundred alienations, if only she'd looked. She stopped a minute between the steel rails, raising her head as if to sniff the air. Becoming conscious of the hard, strung presence she stood on knowing as if maps had been flashed for her on the sky how these tracks ran on into others, others, knowing they laced, deepened, authenticated the great night around her. (pp.123, 124) 284. TRYSTERO IS A POSSESSION 285. AMERICA IS CODED INFORMATION 286. A WILL IS A CONTAINER 287. AMERICA IS A POSSESSION Surely they'd forgotten by now what it was the Trystero were to have inherited; as perhaps Oedipa one day might have. What was left to inherit? That America coded in Inveracity’s testament, whose was that? (p.124) 288. TIME IS A DARK ENTITY 289. TIME IS AN OBJECT MOVING ALONG A PATH 290. MAGICAL OTHER IS MEANINGFUL SOUND AMONG NOISE 291. BRUTE REPETITION IS AN ORIGINATOR 292. TRYSTERO IS A PERSON 277 And the voices before and after the dead man's that had phoned at random during the darkest, slowest hours, searching ceaseless among the dial's ten million possibilities for that magical Other who would reveal herself out of the roar of relays, monotone litanies of insult, filth, fantasy, love whose brute repetition must someday call into being the trigger for the unnameable act, the recognition, the Word. How many shared Tristero's secret, as well as its exile? (p.125) 293. POSSIBILITIES ARE OBJECTS 294. LAND IS A CONTAINER 295. LAND IS A BODY The waiting above all; if not for another set of possibilities to replace those that had conditioned the land to accept any San Narciso among its most tender flesh without a reflex or a cry, then at least, at the very least, waiting for a symmetry of choices to break down, to go skew. (p.125) 296. SAN NARCISO IS A COMPUTER 297. CITY STREETS ARE A HIEROGLYPH 298. CITY STREETS ARE A HIDING PLACE 299. MEANING IS A HIDDEN OBJECT 300. EARTH IS A HIDDEN OBJECT She had heard all about excluded middles; they were bad shit, to be avoided; and how had it ever happened here, with the chances once so good for diversity? For it was now like walking among matrices of a great digital computer, the zeroes and ones twinned above, hanging like balanced mobiles right and left, ahead, thick, maybe endless. Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth. (p.125) 301. A SONG IS A CONTAINER 302. BEAUTY IS AN OBJECT IN A CONTAINER 303. POWER SPECTRUM IS AN OBJECT IN A CONTAINER 304. REALITY OF EVENTS ARE ARRANGED ONES OR ZEROS 305. ECTASY IS A CONTAINER (FOR OEDIPA) 306. ECSTASY IS A MOVING CONTAINER 307. PARANOIA IS AN OBJECT 278 308. AMERICA IS A PLACE HIDDING ANOTHER PLACE 309. AMERICA IS A PLACE BEYOND AN APPEARANCE 310. PARANOIA IS A CONTAINER MOVING AROUND AN OBJECT In the songs Miles, Dean, Serge and Leonard sang was either some fraction of the truth's numinous beauty (as Mucho now believed) or only a power spectrum. Tremaine the Swastika Salesman's reprieve from holocaust was either an injustice, or the absence of a wind; the bones of the GI's at the bottom of Lake In-verarity were there either for a reason that mattered to the world, or for skin divers and cigarette smokers. Ones and zeroes. So did the couples arrange themselves. At Vesperhaven House either an accommodation reached, in some kind of dignity, with the Angel of Death, or only death and the daily, tedious preparations for it. Another mode of meaning behind the obvious, or none. Either Oedipa in the orbiting ecstasy of a true paranoia, or a real Tristero. For there either was some Tristero beyond the appearance of the legacy America, or there was just America and if there was just America then it seemed the only way she could continue, and manage to be at all relevant to it, was as an alien, unfurrow, assumed full circle into some paranoia. (pp. 125, 126) 311. IDEA IS A POSSESSION 312. SITUATION IS MOVING ALONG A PATH "Your fly is open," whispered Oedipa. She was not sure what she'd do when the bidder revealed himself. She had only some vague idea about causing a scene violent enough to bring the cops into it and find out that way who the man really was. She stood in a patch of sun, among brilliant rising and falling points of dust, trying to get a little warm, wondering if she'd go through with it. (p.126) 313. THOUGHT IS A HIDDEN OBJECT "It's time to start," said Genghis Cohen, offering his arm. The men inside the auction room wore black mohair and had pale, cruel faces. They watched her come in, trying each to conceal his thoughts. Loren Passerine, on his podium, hovered like a puppetmaster, his eyes bright, his smile practiced and relentless. He stared at her, smiling, as if saying, I'm surprised you actually came. Oedipa sat alone, toward the back of the room, looking at the napes of necks, trying to guess which one was her target, her enemy, perhaps her proof. An assistant closed the heavy door on the lobby windows and the 279 sun. She heard a lock snap shut; the sound echoed a moment. Passerine spread his arms in a gesture that seemed to belong to the priesthood of some remote culture; perhaps to a descending angel. The auctioneer cleared his throat. Oedipa settled back, to await the crying of lot 49. (pp. 126, 127). 3.2 Classification of conceptual metaphors according to the target domain and the corresponding metaphorical linguistic expressions. THINKING, REMEMBERING, BEING FORGOTTEN, MEMORY, HEAD, SKULL, FATIGUED BRAIN CELL, MIND (THE UNCONSCIOUS), IDEA, MIND, BRAIN: 1, 2, 5, 9, 10, 11, 15, 33, 39, 70, 76, 77, 88, 90, 119, 135, 137, 141, 163, 182, 206, 225, 228, 229, 238, 239, 249, 250, 260 TARGET DOMAIN SOURCE DOMAIN LINGUISTIC EXPRESSION 5. THINKING MOVING ALONG A PATH Think back to whether anything unusual had happened 6. REMEMBERING MOVING BACK ALONG A PATH Think back to whether anything unusual had happened 5. BEING FORGOTTEN OUT OF A CONTAINER It took him over, and to the verge of being forgotten. 9. MEMORY (REVELATION ABOUT) AN OBJECT As things developed, she was to have all manner of revelations. Hardly about Pierce Inveracity, or herself; but about what remained 10. MEMORY (REVELATION ABOUT) AN OBJECT OUTSIDE A CONTAINER but about what remained yet had somehow, before 286 DRIVE INTO 28. HOUSES AND STREETS A CIRCUIT CARD The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. 29. PATTERN OF CIRCUIT AND STREETS A HIEROGLYPH there were to both outward patterns a hieroglyphic sense 71. CALIFORNIA A REDEMPTED PERSON some principle of the sea as redemption for Southern California 172. CITY A CONTAINER and entered the city again, 173. CITY AN INFECTED BEING the infected city. 177. CITY A POSSESION The city was hers, 178. CITY BODY The city was hers, (…): she had safe-passage tonight to its far blood's branchings, be they capillaries too small for more than peering into, or vessels (…), out on the skin for all but tourists to see. 179. STREETS VESSELS The city was hers, (…) she had safe-passage tonight to its far blood's branchings, be they capillaries too small for more than peering into, or vessels mashed together in 287 shameless municipal hickeys, 180. CITY A CONTAINER she had safe-passage tonight to its far blood's branchings, 230. AMERICA A ROLLED OBJECT Let it unfurl. 268. SAN NARCISO A LOST OBJECT San Narciso at that moment lost 269. SAN NARCISO A RESIDUE INSIDE OEDIPA San Narciso at that moment lost (…), gave up its residue of uniqueness for her. 270. SAN NARCISO A CONTAINER WITH NO BOUNDARIES There was the true continuity, San Narciso had no boundaries. 271. AMERICA A POSSESSION LEFT BEHIND to making sense of what Inveracity had left behind, never suspecting that the legacy was America 272. AMERICA A LEGACY never suspecting that the legacy was America 285. AMERICA CODED INFORMATION That America coded in Inveracity’s testament, 287. AMERICA A POSSESSION That America coded in Inveracity’s testament, whose was that? 296. SAN NARCISO A COMPUTER For it was now like walking among matrices of a great digital computer, 297. CITY STREETS A HIEROGLYPH Behind the hieroglyphic streets 298. CITY STREETS A HIDING PLACE Behind the hieroglyphic streets there would either 288 be a transcendent meaning, or only the earth. 308. AMERICA A PLACE HIDDING ANOTHER PLACE For there either was some Trystero beyond the appearance of the legacy of America, or there was just America 309. AMERICA PLACE BEYOND AN APPEARANCE either was some Trystero beyond the appearance of the legacy America, or there was just America, and if there was just America then it seemed the only way she could continue, BEGINNING A RELATIONSHIP: 14 14. BEGINNING A RELATIONSHIP GOING INTO A BUILDING he'd slipped the lock on her tower door and come up the conch like stairs, EMPTY SPACE: 16, 194, 262, 263 16. EMPTY SPACE A CONTAINER THAT CANNOT BE FILLED and into a void, seeking hopelessly to fill the void: 194. EMPTY SPACE A CONTAINER WITH NO ENTRANCE Since they could not have withdrawn into a vacuum (could they?), 262. EMPTY SPACE A DIFFICULT SITUATION teaching herself to breathe in a vacuum. 263. EMPTY SPACE REALIZING ABOUT A DIFFICULTY teaching herself to breathe in a vacuum. For this, oh 289 God, was the void WORLD, ANOTHER WORLD, SEPARATE WORLD: 17, 112, 143, 188, 189, 195, 199, 226, 227 17. WORLD A CONTAINER all the other buildings and creatures, all the waves, ships and forests of the earth were contained in this tapestry, and the tapestry was the world 112. WORLD A PROJECTION Shall I project a world? 143. WORLD A MOVING OBJECT ALONG A PATH when the ordinary world came back. 188. WORLD A CONTAINER another world's intrusion into this one. 189. ANOTHER WORLD AN OBJECT ENTERING A CONTAINER another world's intrusion into this one. 195. SEPARATE WORLD ANOTHER LOCATION there had to exist the separate, silent, unsuspected world. 199. WORLD A CONTAINER that the world would bear no further trace of. 226. WORLD A SUBSTANCE Because the world is so abundant. 227. WORLD AN EXTENSE LOCATION Because the world is so abundant. No end to it, baby. OEDIPA: 18, 23, 43, 44, 100, 106, 131, 153, 164, 219, 237, 242, 247, 264, 267 18. OEDIPA A NEEDLEWOMAN what she stood on had only been woven together a 290 couple thousand miles away in her own tower was 23. OEDIPA A CAPTIVE so Pierce had taken her away from nothing 43. OEDIPA AN OBJECT INSIDE A CLOSED CONTAINER were to bring to an end her encapsulation in her tower 100. OEDIPA A CONTAINER FOR A COLLECTION OF OBJECTS other revelations which now seemed to come crowding in exponentially, as if the more she collected the more would come to her 106. OEDIPA A PROJECTOR MACHINE , to try to be what Driblette was, the dark machine in the Centre of the planetarium, 131. OEDIPA A CONTAINER growing obsession, with "bringing something of herself" even if that something was just her presence 153. OEDIPA A DESTINATION IN A PATH "Help," said Oedipa, "you're not reaching me." 164. OEDIPA AN OBJECT IN A CONTAINER I really think I am going out of my head." 219. OEDIPA A CONTAINER ,don't let the Freudians coax it away or the pharmacists poison it out of you. 237. OEDIPA A CONTAINER Someday she might replace whatever of her had gone away 242. OEDIPA A CONTAINER If you come to me, prayed 291 Oedipa, bring your memories of the last night. 247. OEDIPA IS A CONTAINER needing to settle at once in the warm host, 264. OEDIPA A CONTAINER THAT CAN CLOSE ITSELF "It's over," she said, "they've saturated me. From here on I'll only close them out. 267. OEDIPA A CONTAINER As if there could be no barriers between herself and the rest of the land. EGO: 19, 209 19. EGO A TOWER , soon realizes that her tower, its height and architecture, are like her ego only incidental: 209. EGO A CONTAINER There is me, there are the others. You know, with the LSD, we're finding, the distinction begins to vanish. Egos lose their sharp edges. MAGIC: 20, 21 20. MAGIC BORDERS OF A CONTAINER that what really keeps her where she is is magic, anonymous and malignant, 21. MAGIC OPPOSING FORCE that what really keeps her where she is is magic, anonymous and malignant, 292 visited on her from outside and for no reason at all. NOTHING, ANYTHING NEW: 22, 26, 125 22. NOTHING A CONTAINER and so Pierce had taken her away from nothing, there'd been no escape 26. ANYTHING NEW DESTINATION IN A PATH She left Kinneret, then, with no idea she was moving toward anything new. 125. NOTHING A CONTAINER So you would be violating the Second Law of Thermodynamics, getting something for nothing, causing perpetual, motion. MEANING: 30, 108, 109, 110, 113, 299 30. MEANING A HIDEN OBJECT a hieroglyphic sense of concealed meaning, of an intent to communicate. 108. MEANING CONTAINER into pulsing stelliferous Meaning, 109. MEANING A GROUP OF STARS to bring the estate into pulsing stelliferous Meaning, 110. MEANING A DOME into pulsing stelliferous Meaning, all in a soaring dome around her 113. MEANING CONSTELATION OF STARS If not project then at least flash some arrow on the 293 dome to skitter among constellations 299. MEANING A HIDDEN OBJECT Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth. PRINTED CIRCUIT: 31 31. PRINTED CIRCUIT A PERSON WITH INFORMATION TO TELL There'd seemed no limit to what the printed circuit could have told her FREQUENCY: 35 35. FREQUENCY A LOCATION she and the Chevy seemed parked at the Centre of an odd, religious instant. As if, on some other frequency, (…) words were being spoken. REVELATION: 32, 47, 99, 127 32. REVELATION A LIVING ENTITY GOINT INTO A CONTAINER a revelation also trembled just past the threshold of her understanding. 47. REVELATION A MOVING ENTITY AROUND OEDIPA there were revelation in progress all around her. 99. REVELATION LIVING ENTITY no more disquieting than other revelations which now seemed to come crowding in exponentially, 294 127. REVELATIONS PATTERNS also because of other revelations; because it seemed that a pattern was beginning to emerge, WORDS, READING WORDS: 36, 82, 89, 128, 129, 184, 185, 186, 187 36. WORDS UNNOTICED COLD rotating too slow for her heated skin even to feel the centrifugal coolness of, words were being spoken. 82. WORD FORCE The word hung in the air (…) but not yet to exert the power over her it was to. 89. WORD A ROTE NOISE The words, who cares? They're rote noises 128. READING WORDS ILLUMINATING A DARK PHYSICAL ENTITY Another reading of that line might help light further the dark face of the word. 129. WORD DARK PHYSICAL ENTITY Another reading of that line might help light further the dark face of the word. 184. WORD A POSSESION having lost the direct, epileptic Word, 185. WORD A MENTALLY ILL PERSON having lost the direct, epileptic Word, 186. WORD A CRY Word, the cry that might abolish the night. 187. WORD AN ENTITY PUTTING AN END TO THE NIGHT Word, the cry that might abolish the night. 295 PROMISE: 38 38. PROMISE OF HIEROPHANT A MOVING OBJECT ALONG A PATH Some immediacy was there again, some promise of hierophant: TRYSTERO: 42, 44, 55, 56, 61, 81, 102, 156, 157, 158, 159, 160, 234, 254, 276, 280, 284, 292 42. TRYSTERO AN OBJECT one object behind her discovery of what she was to label the Trystero System or often only The Trystero 44. TRYSTERO A LIBERATOR The Trystero (as if it might be something's secret title) were to bring to an end her encapsulation in her tower, 55. TRYSTERO A PLANT the languid, sinister blooming of The Trystero. 56. TRYSTERO A WEAK IN FORCE ENTITY the languid, sinister blooming of The Trystero. 61. TRYSTERO A NAKED PERSON before The Trystero could be revealed in its terrible nakedness. 81. TRYSTERO A PERSON who’s once been set his tryst with Trystero. Trystero. 102. TRYSTERO A CLOTH would somehow come to be woven into The Tristero. 156. TRYSTERO A WORD she had nothing but a sound, a word, Trystero, 157. TRYSTERO A CONTAINER she had nothing but a sound, a word, Trystero, to 302 SOMETHING YOU CANNOT HEAR OR SMELL: 66 66. SOMETHING YOU CANNOT HEAR OR SMELL A PHYSICAL ENTITY you could not hear or even smell this but it was there, SOMETHING UNKNOWN: 67 67. SOMETHING UNKNOWN AN OBJECT MOVING ALONG A PATH something tidal began to reach feelers in past eyes and eardrums, SOMETHING UNKNOWN: 68 68. SOMETHING UNKNOWN A FREQUENCY you could not hear or even smell this but it was there, something tidal began to reach feelers FEELER: 69 69. FEELER A BRAIN NERVE something tidal began to reach feelers UGLINESS: 74 74. UGLINESS A SUBSTANCE IN A CONTAINER Pacific stayed inviolate and integrated or assumed the ugliness at any edge into some more general truth. TRUTH: 75, 97, 136, 138, 139, 140, 142 303 76. TRUTH A SUBSTANCE IN A CONTAINER the true Pacific stayed inviolate and integrated or assumed the ugliness at any edge into some more general truth 97. TRUTH A PHYSICAL ENTITY and never touch the truth. 136. TRUTH A DESTINATION IN A PATH All these fatigued brain cells between herself and the truth. 138. TRUTH A POSSESION she too might not be left with only compiled memories of clues, announcements, intimations, but never the central truth itself, 139. TRUTH A BRIGHT OBJECT INSIDE A CONTAINER the central truth itself, which must somehow each time be too bright for her memory to hold; 140. TRUTH A CONTAINER which must always blaze out, destroying its own message irreversibly, 142. ABSENCE OF TRUTH A BLANK leaving an overexposed blank when the ordinary world came back. CHAOS: 83, 84 83. CHAOS A CONTAINER She walked in on soft, elegant chaos, 84. CHAOS INTERFERING EMISSIONS She walked in on soft, elegant chaos, an impression of emanations, 304 mutually interfering, from the stub-antennas of everybody's exposed nerve endings. ANTENNA: 85 85. ANTENNA A CONTAINER from the stub-antennas of everybody's exposed nerve endings. BODY NERVES: 86 86. BODY NERVES TRANSMITTERS from the stub-antennas of everybody's exposed nerve endings. REALITY: 91 91. REALITY AN OBJECT INSIDE A CONTAINER But the reality is in this head. Mine. PERSON, BODY ORIFICES: 92, 94, 96 92. PERSON A PROJECTOR DEVICE I'm the projector at the planetarium, 94. PERSON A CONTAINER all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, sometimes other orifices also." 95. BODY ORIFICES LENSES I'm the projector at the 305 planetarium, all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, sometimes other orifices also." UNIVERSE: 93 93. UNIVERSE A PERFORMANCE all the closed little universe visible in the circle of that stage TEXT: 98 98. TEXT A MOVING OBJECT ALONG A PATH and did trace the text of The Courier's Tragedy a certain distance, READING: 128 128. READING ILLUMINATING A DARK REGION Another reading of that line might help light further the dark face of the word. PERCEPTIONS AND THOUGHTS: 101 101. PERCEPTIONS AND THOUGHTS THREADS OF A CLOTH until everything she saw, smelled, dreamed, remembered, would somehow come to be 306 woven into The Tristero IGNORANCE: 111 111. IGNORANCE AN OBSTACLE IN A PATH If only so much didn't stand in her way: her deep ignorance of law, of investment, of real estate, ultimately of the dead man himself. KNOWLEDGE: 114 114. KNOWLEDGE TRACING CONSTELLATIONS Shall I project a world? If not project then at least flash some arrow on the dome to skitter among constellations and trace out your Dragon, Whale, Southern Cross. Anything might help. GOING TO ANOTHER LOCATION: 115 115. GOING TO ANOTHER LOCATION OUTSIDE FORCE It was some such feeling that got her up early one morning to go to a Yoyodyne stockholders' meeting. There was nothing she could do at it, yet she felt it might redeem her a little from inertia. 307 INERTIA: 116 116. INERTIA LOCATION WHERE YOU CANNOT MOVE yet she felt it might redeem her a little from inertia. MURMUR: 117 117. MURMUR A LOCATION alone in a great, fluorescent murmur of office activity INTELLIGENCE: 120 120. INTELLIGENCE A LIVING ENTITY who had once postulated a tiny intelligence, known as Maxwell's Demon. The Demon could sit in a box and sort out the fast molecules from the slow ones MOLECULES: 121, 122 121. MOLECULES OBJECTS and sort out the fast molecules from the slow ones. 122. MOLECULES CONTAINERS Fast molecules have more energy than slow ones. SYSTEM: 123 123. SYSTEM A CONTAINER you wouldn't have put any 308 real work into the system. WORK: 124 124. WORK AN OBJECT you wouldn't have put any real work into the system. OBSESSION: 130 130. OBSESSION A LIVING ENTITY what you might have to call, growing obsession, PRESENCE: 132, 281 132. PRESENCE AN OBJECT with "bringing something of herself" even if that something was just her presence 281. PRESENCE A LOCATION Becoming conscious of the hard, strung presence she stood on BUSINESS INTERESTS: 133 133. BUSINESS INTERESTS A LOCATION to the scatter of business interests that had survived Inverar-ity. CREATING MEANING: 134 134. CREATING MEANING GIVING ORDER TO OBJECTS She would give them order, she would create 309 constellations; ENTROPY: 146, 154 146. ENTROPY A POSSESSION the system was said to lose entropy. 154. ENTROPY A BRIDGE It connects the world of thermo-dynamics to the world of information flow. INFORMATION: 147, 148, 150, 152, 282 147. INFORMATION AN OBJECT the system was said to lose entropy (…) But somehow the loss was offset by the information the Demon gained 148. INFORMATION AN OBJECT "The Demon passes his data on to the sensitive, and the sensitive must reply in kind. 150. INFORMATION AN OBJECT INSIDE A CONTAINER There are untold billions of molecules in that box. The Demon collects data on each and every one. 152. INFORMATION AN OBJECT and feedback something like the same quantity of information. 282. INFORMATION TRACKS ON THE SKY as if maps had been flashed for her on the sky how these tracks ran on into others, others, knowing they laced, deepened, 310 authenticated the great night around her. SENSITIVE PERSON: 149 149. SENSITIVE PERSON A CONTAINER "The Demon passes his data on to the sensitive, and the sensitive must reply in kind. ENERGY: 151 151. ENERGY OBJECT The sensitive must receive that staggering set of energies COINCIDENCES: 155 155. COINCIDENCES PLANTS With coincidences blossoming these days wherever she looked, SHRINK: 161 161. SHRINK FIXER a little something for her shrink to fix. CROWD, SWARM, SOCIETY, OTHER PEOPLE: 162, 202, 208, 212 162. CROWD A CONTAINER Then walked along Broadway, into the first crowds of evening. 311 202. SWARM A CONTAINER She tried to struggle out of the silent, gesturing swarm, 208. SOCIETY A CONTAINER bring it into society with no fear of its someday reverting. 212. OTHER PEOPLE UNDISTINGUISHABLE PERSONS for when you lose it you go over by that much to the others. You begin to cease to be LOVE: 167, 233, 274 167. LOVE A LOCATION From this day I swear to stay off of love: 233. LOVE A LOCATION and away, hopelessly away, from what has passed, I was hoping forever, for love; 274. LOVE A POSSESSION would carry forever beyond any decimal place she might name; her love, such as it had been, DESPAIR: 169 169. DESPAIR A MOVING OBJECT ALONG A PATH Despair came over her, HATE: 170 170. HATE A LOCATION She gauged the spectrum of feeling out there as running from really violent 318 257. NETWORK OF COMMUNICATION A LOCATION Stumbled (…) onto a network by which X number of Americans are truly communicating HOAX: 252, 253 252. HOAX AN OBJECT That this is all a hoax, maybe something Inverarity set up before he died 253. HOAX A PHYSICAL ENTITY Oedipa had been steadfastly refusing to look at that possibility directly, INVERARITY STATE: 255 255. INVERARITY STATE A LOCATION Every access route to the Trystero could be traced also back to the Inverarity estate. ALTERNATIVE TO EXISTLESSNESS: 258 258. ALTERNATIVE TO EXISTLESSNESS A LOCATION Stumble (…) maybe even onto a real alternative to the exitlessness, to the absence of surprise to life, ALTERNATIVE TO THE ABSENCE OF SURPRISE: 259 259. ALTERNATIVE TO A LOCATION ; maybe even onto a real 319 THE ABSENCE OF SURPRISE alternative to the exitlessness, to the absence of surprise to life, ORIENTATION: 266 266. ORIENTATION AN OBJECT YOU LOOSE and tried to face toward the sea. But she'd lost her bearings. AN ENIGMA: 273 273. AN ENIGMA A LOCATION WITH NO WAY OUT neither would she lose a new compassion for the cul-de-sac he'd tried to find a way out of, for the enigma his efforts had created. BITTERNESS: 275 275. BITTERNESS A SUBSTANCE INSIDE A CONTAINER Bitterness could have run that deep in him. WILL: 277, 286 277. WILL A CONTAINER He might himself have discovered The Trystero, and encrypted that in the will, 286. A WILL A CONTAINER That America coded in 320 Inveracity’s testament, whose was that? MAGICAL OTHER: 290 290. MAGICAL OTHER MEANINGFUL SOUND AMONG NOISE voices before and after the dead man's that had phoned at random (…) searching ceaseless among the dial's ten million possibilities for that magical Other who would reveal herself out of the roar of relays, BRUTE REPETITION: 291 291. BRUTE REPETITION IS AN ORIGINATOR brute repetition must someday call into being the trigger for the unnameable act, the recognition, the Word. POSSIBILITIES: 293 293. POSSIBILITIES OBJECTS if not for another set of possibilities to replace those that had conditioned the land LAND, EARTH: 294, 295, 300 321 294. LAND A CONTAINER another set of possibilities to replace those that had conditioned the land to accept any San Narciso 295. LAND A BODY to accept any San Narciso among its most tender flesh without a reflex or a cry, 300. EARTH A HIDDEN OBJECT Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth. TRUTH’S BEAUTY: 302 302. TRUTH’S BEAUTY AN OBJECT IN A CONTAINER In the songs Miles, Dean, Serge and Leonard sang was either some fraction of the truth's numinous beauty (as Mucho now believed) or only a power spectrum POWER SPECTRUM: 303 303. POWER SPECTRUM AN OBJECT IN A CONTAINER In the songs Miles, Dean, Serge and Leonard sang was either some fraction of the truth's numinous beauty (as Mucho now believed) or only a power spectrum REALITY OF EVENTS: 304 322 304. REALITY OF EVENTS ARRANGED ONES AND ZEROES was either an injustice, or the absence of a wind (…) were there either for a reason that mattered to the world, or for skin divers and cigarette smokers. Ones and zeroes. So did the couples arrange themselves. SITUATION: 312 312. SITUATION MOVING ALONG A PATH wondering if she'd go through with it. THOUGHT: 313 313. THOUGHT A HIDDEN OBJECT They watched her come in, trying each to conceal his thoughts. 323 3.3 Conceptual mappings. The conceptual metaphors, in capital letters, indicate the correspondences between domains, but not the mappings themselves. For example, in the metaphor HEAD IS A CONTAINER, our knowledge of the source domain (CONTAINER) establishes correspondences that allow us conceptualizing the target domain HEAD with the structure of the source domain. This way, linguistic expressions such as “get an idea out of your head” or “I can´t get it in my head” are examples of HEAD IS A CONTAINER, where the source domain maps correspondences such as inside a container and an object inside container into head and idea in the target domain. Thus, our experiential knowledge of getting an object inside or outside a container structures the conceptual construction of getting ideas in and out our heads. Following, we present the aspects of the source domain which are mapped in the aspects of the target domain: Mappings: Target domain MIND. Mappings of: 1. THINKING IS MOVING ALONG A PATH 2. REMEMBERING IS MOVING BACK ALONG A PATH Metaphor Source aspects Target aspects 1. Go from one place to another place Go from one idea to another idea 2. Return to a point in a path Return to a previous idea Mappings of: 5. BEING FORGOTTEN IS OUT OF A CONTAINER 324 39. HEAD IS A CONTAINER 119. HEAD IS A CONTAINER 141. MEMORY IS A CONTAINER 163. HEAD IS A CONTAINER 182. MEMORY IS A CONTAINER 225. HEAD IS A CONTAINER 228. HEAD IS A CONTAINER 249. BRAIN IS A CONTAINER 260. SKULL IS A CONTAINER Metaphor Source aspects Target aspects 5. Object out of a container Memory out of thought 39. Plant blooming inside a container Pain which begins to appear in the head 119. Living being growing in a container Panic increasing in the head 141. Keeping an object inside a container Keeping a remembrance in the memory 163. Object out of a container Reason out of the head 182. Loose object inside a container Remembrance that is not fixed in memory 225. Living being going up in a container Panic increasing in the head 228. Object that cannot be introduced in a container Idea that cannot be held in thought 249. Object in a container Idea in thought 260. Object out of a container Reason out of the head 325 Mappings of: 9. MEMORY (REVELATION ABOUT) IS AN OBJECT 10. MEMORY (REVELATION ABOUT) IS AN OBJECT OUTSIDE A CONTAINER 15. MEMORY (OF A LOVE RELATIONSHIP) IS AN OBJECT INSIDE A BUILDING 76. MEMORY IS A ROLLED OBJECT 77. REMEMBERING IS UNLOOPING A ROLLED OBJECT 135. FATIGUED BRAIN CELL IS AN OBSTACLE IN A PATH 137. MEMORY IS A COMPILED OBJECT 229. IDEA IS AN OBJECT OUT OF A CONTAINER 239. MEMORY (WINGED SHAPE) IS AN OBJECT YOU REACH Metaphor Source aspects Target aspects 9. Object that remains in its place Remembrance that remains in memory 10. Object far from a place Remembrance far from memory 15. Object inside a tower Remembrance in thought 76. Folded object Saved remembrance save 77. Unfolded object Thinking about a remembrance 135. Obstacle in a path Difficulty to reach information 137. Group of objects Group of memories 229. Object outside a container Idea outside thought 239. Accessing an object Accessing a memory Mappings of: 326 11. MEMORY (SENSE OF) IS A COMPUTER 70. BRAIN IS A COMPUTER 250. BRAIN IS A MACHINE Metaphor Source aspects Target aspects 11. Buffering computer Thermal insulation Collected memories Memories with no exterior contact 70. Electricity in a circuitry Brain activation 250. Electric circuitry Neural networks Mappings of: 33. HEAD IS A HOUSE 206. MIND (THE UNCONSCIOUS) IS A ROOM Metaphor Source aspects Target aspects 33. Threshold of the door Initial phase of a thought 206. Room of the house Place in the mind Mappings of: 238. MIND IS A BODY Metaphor Source aspects Target aspects 238. Muscle actions Mind actions Target domain TIME Mappings of: 327 3. DAYS ARE CARDS YOU SHUFFLE BACK 4. DAYS ARE IDENTICAL CARDS POINTING THE SAME WAY 37. INMEDIACY IS A MOVING OBJECT ALONG A PATH 41. TIME IS A MOVING OBJECT YOU CAN SLOW DOWN 42. TIME IS A DARK ENTITY 289. TIME IS AN OBJECT MOVING ALONG A PATH Metaphor Source aspects Target aspects 3. Shuffling cards Remembering days 4. Identical cards pointing in the same direction Identical days 37. Object arriving to a place Instant that arrives 41. Moving object slowed More temporal duration 288. Dark entity Dark part of the day 289. Moving object Time passing Mappings of: 34. INSTANT IS A LOCATION YOU STAY AT Metaphor Source aspects Target aspects 34. Physical place Temporal moment Target domain MIND STATES Mappings of: 6. CRISIS IS BEING DOWN IN THE BOTTOM OF A CONTAINER 126. MADNESS IS A CONTAINER 261. BEING MAD IS OUT OF A CONTAINER 334 Mappings of: 272. AMERICA IS A LEGACY Metaphor Source aspects Target aspects 272. Valuable object as a legacy Parts of America as a legacy Mappings of: 285. AMERICA IS CODED INFORMATION Metaphor Source aspects Target aspects 285. Unreachable information Unreachable ideas about America Mappings of: 296. SAN NARCISO IS A COMPUTER Metaphor Source aspects Target aspects 296. Computer matrix Streets of a city Mappings of: 298. CITY STREETS ARE A HIDING PLACE 308. AMERICA IS A PLACE HIDING ANOTHER PLACE Metaphor Source aspects Target aspects 298. Hiding place Enigmatic streets of a city 308. A place hiding another place Legacy of America hiding another place 335 Mappings of: 309. AMERICA IS A PLACE BEYOND AN APPEARANCE Metaphor Source aspects Target aspects 309. Place behind the appearance of another place America behind appearance of America Mappings of: 14. BEGINNING A RELATIONSHIP IS GOING INTO A BUILDING Metaphor Source aspects Target aspects 14. Actions to get inside a building Strategies to begin a relationship Target domain EMPTY SPACE. Mappings of: 16. EMPTY SPACE IS A CONTAINER THAT CANNOT BE FILLED 194. EMPTY SPACE IS A CONTAINER WITH NO ENTRANCE Metaphor Source aspects Target aspects 16. Objects inside a container Elements in the world 194. Going inside a container Going into a void Mappings of: 262. EMPTY SPACE IS A DIFFICULT SITUATION 263. EMPTY SPACE IS REALIZING ABOUT DIFFICULT SITUATION Metaphor Source aspects Target aspects 336 262. Learning to breath in a vacuum Learning to breath in a vacuum 263. Seeing the void Seeing a difficulty Mappings of: 17. WORLD IS A CONTAINER 188. WORLD IS A CONTAINER 199. WORLD IS A CONTAINER Metaphor Source aspects Target aspects 17. Objects inside a container Elements of the world 188. Object going inside a container World entering another world 199. Traces in a container Traces in the world Mappings of: 112. WORLD IS A PROJECTION Metaphor Source aspects Target aspects 112. Projecting an image Projecting a world Mappings of: 143. WORLD IS A MOVING OBJECT ALONG A PATH 189. ANOTHER WORLD IS AN OBJECT ENTERING A CONTAINER 226. WORLD IS A SUBSTANCE Metaphor Source aspects Target aspects 143. Moving object returning to a place World returning to a previous state 337 189. Person going into a container World going into another world 226. Abundant substance Abundant elements of the world Mappings of: 195. SEPARATE WORLD IS ANOTHER LOCATION 227. WORLD IS AN EXTENSE LOCATION Metaphor Source aspects Target aspects 195. Place separated from another place World separated from another world 227. Boundless place Boundless world Target domain OEDIPA Mappings of: 18. OEDIPA IS A NEEDLEWOMAN Metaphor Source aspects Target aspects 18. Weaving a tapestry Creating a place in the world Mappings of: 23. OEDIPA IS A CAPTIVE 43. OEDIPA IS AN OBJECT INSIDE A CLOSED CONTAINER 100. OEDIPA IS A CONTAINER FOR A COLLECTION OF OBJECTS 131. OEDIPA IS A CONTAINER 219. OEDIPA IS A CONTAINER 237. OEDIPA IS A CONTAINER 338 242. OEDIPA IS A CONTAINER 247. OEDIPA IS A CONTAINER 264. OEDIPA IS A CONTAINER THAT CAN CLOSE ITSELF 267. ODIPA IS A CONTAINER Metaphor Source aspects Target aspects 23. Getting someone out of a container Getting someone out of nowhere 43. Object in a closed container Oedipa in a situation that does not finish 100. Collection of objects inside a container Collection of ideas discovered by Oedipa 131. Object inside a container Part of Oedipa inside herself 219. Getting something out of a container Oedipa getting a fantasy out of Oedipa 237. Object inside a container Part of Oedipa inside herself 242. Putting an object inside a container Information that reaches Oedipa 247. Object inside of a container Information in the mind of Oedipa 264. Full container Oedipa tired of other people 267. Substances inside of a container mixing with the outside Idea of Oedipa about herself mixing with the outside Mappings of: 106. OEDIPA IS A PROJECTOR MACHINE Metaphor Source aspects Target aspects 339 106. Projecting images Creating ideas Mappings of: 153. OEDIPA IS A DESTINATION IN A PATH Metaphor Source aspects Target aspects 153. Destination in a path Oedipa as recipient of information Mappings of: 164. OEDIPA IS AN OBJECT IN A CONTAINER Metaphor Source aspects Target aspects 164. Object going out of a container Reason getting out of Oedipa’s mind Target domain EGO Mappings of: 19. EGO IS A TOWER Metaphor Source aspects Target aspects 19. Height of a building Characteristics of an ego Mappings of: 209. EGO IS A CONTAINER Metaphor Source aspects Target aspects 209. Walls of a container Limits of the ego 340 Target domain MAGIC Mappings of: 20. MAGIS IS BORDERS OF A CONTAINER Metaphor Source aspects Target aspects 20. Walls of a container Magic limiting a place Mappings of: 21. MAGIC IS OPPOSING FORCE Metaphor Source aspects Target aspects 21. Force affecting an object Magic affecting Oedipa Target domains NOTHING y ANYTHING Mappings of: 22. NOTHING IS A CONTAINER 125. NOTHING IS A CONTAINER Metaphor Source aspects Target aspects 22. Getting an object out of a container Oedipa moves to a place undistinguishable of the previous 125. Getting an object out of a container Getting something from an empty place Mappings of: 26. ANYTHING NEW IS A DESTINATION IN A PATH 341 Metaphor Source aspects Target aspects 26. Going to a new place Living a new situation Target domain MEANING Mappings of: 30. MEANING IS A HIDEN OBJECT 299. MEANING IS A HIDEN OBJECT Metaphor Source Aspects Target aspects 30. Hidden object Difficult access information 299. Hidden object Difficult access information Mappings of: 108. MEANING IS A CONTAINER Metaphor Source aspects Target aspects 108. Getting an object inside of a container Getting meaning from information Mapeos de: 109. MEANING IS A GROUP OF STARS 113. MEANING IS STARS IN A DOME Metaphor Source aspects Target aspects 109. Starts that bright Prominent meaning 342 113. Seeing a constellation Creating meaning Mappings of: 110. MEANING IS A DOME Metaphor Source aspects Target aspects 110. Dome around something External reflection of ideas Target domain CIRCUIT Mappings of: 31. PRINTED CIRCUIT IS A PERSON WITH INFORMATION TO TELL Metaphor Source aspects Target aspects 31. Speaking person Communicating circuitry Target domain FREQUENCY Mappings of: 35. FREQUENCY IS A LOCATION Metaphor Source aspects Target aspects 35. Another place Another frequency Target domain REVELATION Mappings of: 32. REVELATION IS A LIVING ENTITY GOING INTO A CONTAINER 99. REVELATION IS A LIVING ENTITY 343 Metaphor Source aspects Target aspects 32. Living being going into a container Revelation reaching a mind 99. Living beings moving along a path Revelations reaching a mind Mappings of: 47. REVELATION IS A MOVING ENTITY AROUND OEDIPA Metaphor Source aspects Target aspects 47. Entity around a person Revelation around a person Mappings of: 127. REVELATIONS ARE PATTERNS Metaphor Source aspects Target aspects 127. Seeing a repeated sequence Distinguishing emergence of a meaning Target domain WORD Mappings of: 36. WORDS ARE UNNOTICED COLD Metaphor Source aspects Target aspects 36. Coolness not perceived by skin Unheard words Mappings of: 350 Mappings of de: 46. IDEAS ARE PIECES WHICH FIT TOGETHER Metaphor Source aspects Target aspects 46. Pieces which together Ideas that relation with each other Mappings of: 176. IDEA IS A MOVING OBJECT ALONG A PATH 229. IDEA IS AN OBJECT INSIDE A CONTAINER Metaphor Source aspects Target aspects 176. Moving object reaching a point in a path Idea coming into the mind 229. Object cannot go into a container Idea difficult to believe Mappings of: 311. IDEA IS A POSSESION Metaphor Source targets Target aspects 311. Owning an object Owning an idea Target domain STAMPS Mappings of: 48. STAMP COLLECTION IS A CONTAINER Metaphor Source aspects Target aspects 48. Object in a container Information in the stamps 351 Mappings: 49. STAMPS ARE WINDOWS Metaphor Source aspects Target aspects 49. Views from a window Images in stamps Mapping of: 52. STAMP COLLECTION IS A PERSON Metaphor Source aspects Target aspects 52. Speaking Revealing information Mapping of: 53. STAMP COLLECTION IS A LOVER Metaphor Source aspects Target domains 53. Paying attention to stamps Paying attention to a lover Target domain SPACE AND TIME Mappings of: 50. SPACE AND TIME ARE VIEWS THROUGH A WINDOW Metaphor Source aspects Target aspects 50. Watching historic images Watching time and space Target domain DIFFICULT TASKS 352 Mappings of: 51. DIFFICULT TASKS ARE HEADACHES Metaphor Source aspects Target aspects 51. Difficult task Headache Target domain DEATH Mappings of: 54. DEATH IS A CHEATING LOVER Metaphor Source aspects Target aspects 54. Lover Death Mappings of: 104. DEATH IS A DESTINATION IN A PATH 166. DEATH IS A DESTINATION IN A PATH Metaphor Source aspects Target aspects 104. Actions before getting to a point in a path Actions before dying 166. Path to a destination Path to death Mappings of: 278. DEATH IS OPPOSING FORCE Metaphor Source aspects Target aspects 278. Surviving a force Surviving death 353 Target domain LIFE Mappings of: 57. LIFE EVENTS ARE PERFORMANCES Metaphor Source aspects Target aspects 57. Experienced event Event seen from outside Mappings of: 96. LIFE IS A RESOURCE Metaphor Source aspects Target aspects 96. Wasting a resource Wasting life Mappings of: 103. LIFE IS A PATH Metaphor Source aspects Target aspects 103. Actions before reaching a destination Experiences before dying Mappings of: 105. LIFE IS A VALUABLE OBJECT Metaphor Source aspects Target aspects 105. Giving a valuable object Giving life to memories 354 Mappings of: 107. LIFE IS BEING SURROUNDED BY A DOME Metaphor Source aspects Target aspects 107. Events under a dome Events of life Mappings of: 145. LIFE IS A LOCATION YOU CAN GET LOST IN Metaphor Source aspects Target aspects 145. Getting lost in a place Living confusing situations Mappings of: 168. LIFE IS A STORY Metaphor Source aspects Target aspects 168. Plot of a story Events of life Mappings of: 59. PAST EVENT IS A PERSON Metaphor Source aspects Target aspects 59. Getting undressed Revealing historical facts Target domains DAWN, NIGHT, MORNING, AFTERNOON Mappings of: 59. DAWN IS A LOCATION 355 Metaphor Source aspects Target aspects 59 Dark place First hours of the morning Mappings of: 175. NIGHT IS A LOCATION 265. NIGHT IS A LOCATION 283. NIGHT IS A LOCATION Metaphor Source aspects First hours of the morning 175. Region of a location Moment of the night 265. Standing in a place Standing in the night 283 Place around us Night around us Mappings of: 190. MORNING IS A CONTAINER 196. MORNING IS A CONTAINER Metaphor Source aspects Target aspects 190. Getting inside of a container Experiencing the morning 196. Returning to a container Getting back outside Mappings of: 236. AFTERNOON SMOG IS A LOCATION Metaphor Source aspects Target aspects 236. Place in the fog Moment of the afternoon 356 Mappings of: 61. NAKEDNESS IS A SCARY IMAGE Metaphor Source aspects Target aspects 61. Nakedness Unwanted information Target domains SOMNOLENCE y HEADACHE Mappings of: 62. SOMNOLENCE IS A LOCATION Metaphor Source aspects Target aspects 62. State of somnolence Silent part of San Narciso Mappings of: 40. HEADACHE IS A PLANT Metaphor Source aspects Target aspects 40. Blooming plant Increasing headache Target domain PACIFIC Mappings of: 63. PACIFIC IS A PERSON 72. PACIFIC IS A REDEEMER Metaphor Source aspects Target aspects 63. Someone unaffected by events Pacific unaffected by events 357 72. Saving someone from a bad situation Getting out the bad things of a place Mappings of: 64. PACIFIC IS A HOLE THE MOON LEFT Metaphor Source aspects Target aspects 64. Hole left by the moon Place where the Pacific is Mappings of: 65. PACIFIC IS A MONUMENT Metaphor Source aspects Target aspects 65. Structure raised to honor someone Pacific as a remembrance of something that used to occupy its place Mappings of: 73. PACIFIC IS A CONTAINER Metaphor Source aspects Target aspects 73. Walls of a container Coasts of the Pacific Mappings of: 66. SOMETHING YOU CANNOT HEAR OR SMELL IS A PHYSICAL ENTITY Metaphor Source aspects Target aspects 358 66. Perceiving something you cannot smell or hear Perceiving something abstract Target domain SOMETHING UNKNOWN Mappings of: 67. SOMETHING UNKNOWN IS AN OBJECT MOVING ALONG A PATH 69. SOMETHING UNKNOWN IS A FREQUENCY Metaphor Source aspects Target aspects 67. Perceiving a moving object Perceiving something that cannot be seen 69. Frequency received by antennas Vague perception received by the mind Target domain FEELER 69. FEELER IS A BRAIN NERVE Mappings of: Metaphor Source aspects Target aspects 69. Organ sensible to touch Brain nerves receiving changes Target domain UGLINESS Mappings of: 74. UGLINESS IS A SUBSTANCE IN A CONTAINER Metaphor Source aspects Target aspects 359 74. Substance entering a container and transforming into something better Sea that absorbs negative things and transform them into good things Target domain TRUTH Mappings of: 75. TRUTH IS A SUBSTANCE IN A CONTAINER 139. TRUTH IS A BRIGHT OBJECT IN A CONTAINER 140. TRUTH IS A CONTAINER Metaphor Source aspects Target aspects 75. Substance inside a container Certainties inside Pacific 139. Bright object inside a container Truth in the mind 140. Object in a container Information about facts Mappings of: 97. TRUTH IS A PHYSICAL ENTITY 138. TRUTH IS A POSSESION Metaphor Source aspects Target aspects 97. Touching an object Knowing the truth 138. Objects you use Important information Mappings of: 136. TRUTH IS A DESTINATION IN A PATH 366 123. Putting an object inside a container Transferring energy to a system Target domain WORK Mappings of: 124. WORK IS AN OBJECT Metaphor Source aspects Target aspects 124. Introducing an object Transferring energy Target domain OBSSESION Mappings of: 130. OBSESSION IS A LIVING ENTITY Metaphor Source aspects Target aspects 130. Living being growing Increasing feeling of concern Target domain PRESENCE Mappings of: 132. PRESENCE IS AN OBJECT Metaphor Source aspects Target aspects 132. Bringing an object to a location Being physically present Mappings of: 281. PRESENCE IS A LOCATION 367 Metaphor Source aspects Target aspects 281. Place where you are Events of reality Target domain BUSINESS INTERESTS Mappings of: 133. BUSINESS INTERESTS ARE A LOCATION Metaphor Source aspects Target aspects 133. Scattered objects Different types of businesses Target domain CREATING MEANING Mappings of: 134. CREATING MEANING IS GIVING ORDER TO OBJECTS Metaphor Source aspects Target aspects 134. Ordering objects Ordering ideas Target domain ENTROPY Mappings of: 146. ENTROPY IS A POSSESION Metaphor Source aspects Target aspects 146. Losing an object Losing entropy Mappings of: 154. ENTROPY IS A BRIDGE 368 Metaphor Source aspects Target aspects 154. Bridge between two places Element that connects thermodynamics and information Target domain INFORMATION Mappings of: 147. INFORMATION IS AN OBJECT 148. INFORMATION IS AN OBJECT 150. INFORMATION IS AN OBJECT INSIDE A CONTAINER 152. INFORMATION IS AN OBJECT Metaphor Source aspects Target aspects 147. Compensating with an element the loss of another element Compensating the loss of entropy with information 148. Passing an object to someone Passing information to someone 150. Taking an object from a container Taking information from a molecule 152. Number of objects Quantity of information Mappings of: 282. INFORMATION IS TRACKS ON THE SKY Metaphor Source aspects Target aspects 282. Trace in the sky Information about a meaning Target domain SENSITIVE PERSON Mappings of: 369 149. SENSITIVE PERSON IS A CONTAINER Metaphor Source aspects Target aspects 149. Container receiving an object Sensitive person receiving information Target domain ENERGY Mappings of: 151. ENERGY IS AN OBJECT Metaphor Source aspects Target aspects 151. Receiving a group of objects Receiving a group of energies Target domain COINCIDENCES ARE PLANTS Mappings of: 155. COINCIDENCES ARE PLANTS Metaphor Source aspects Target aspects 155. Blooming Becoming noticeable Target domain SHRINK Mappings of: 161. SHRINK IS A FIXER 370 Metaphor Source aspects Target aspects 161. Person that fixes objects Person that cures minds Target domains LARGE GROUP OF PEOPLE Mappings of: 162. CROWD IS A CONTAINER 202. SWARM IS A CONTAINER 208. SOCIETY IS A CONTAINER 212. OTHER PEOPLE IS A CONTAINER Metaphor Source aspects Target aspects 162. Going into a container Walking near a huge group of people 202. Getting out of a container Separating from a group of people 208. Getting into a container Introducing in society Mappings of: 212. OTHER PEOPLE ARE UNDISTINGUISHABLE PERSONS Metaphor Source aspects Target aspects 212. Being the same as the rest of people in a group Losing identity Target domain LOVE Mappings of: 167. LOVE IS A LOCATION 371 233. LOVE IS A LOCATION Metaphor Source aspects Target aspects 167. Being far from a place Trying not to love someone 233. Being far from a place Putting an end to a relationship Mappings of: 247. LOVE IS A POSSESSION Metaphor Source aspects Target aspects 247. Bringing an object with us Having a relationship in our memory Target domain DESPAIR Mappings of: 169. DESPAIR IS A MOVING OBJECT ALONG A PATH Metaphor Source aspects Target aspects 169. Object approaching a point in a path Feeling despair Target domain HATE Mappings of: 171. HATE IS A LOCATION Metaphor Source aspects Target aspects 171. Physical feeling a place produces Perceiving hate in the people around 372 us Target domain SPECULATION Mappings of: 171. SPECULATION IS A LOCATION Metaphor Source aspects Target aspects 171. Physical feeling a place produces Perceiving speculation in the people around us Target domain DREAM Mappings of: 174. DREAM IS A MOVING OBJECT ALONG A PATH Metaphor Source aspects Target aspects 174. Moving object approaching Dreaming about something Mappings of: 256. DREAM IS A LOCATION Metaphor Source aspects Target aspects 256. Finding a place by chance Having an unexpected dream Target domain SAFE Mappings of: 181. SAFE IS OFFICIAL PROTECTION 373 Metaphor Source aspects Target aspects 181. Official protection to enter a place Controlling the situation while being in a place Mappings of: 200. SAFE IS INSIDE A CONTAINER 204. SAFE IS INSIDE A CONTAINER Metaphor Source aspects Target aspects 200. Being inside a container Being in a safe situation 204. Being inside a container Being in a safe situation Target domain LOST Mappings of 201. LOST IS OUTSIDE A CONTAINER Metaphor Source aspects Target aspects 201. Being out of a container Being lost Mappings of: 235. LOST IS BEING ALONE Metaphor Source aspects Target aspects 235. Being alone Not knowing which direction to take Target domain CLUE Mappings of: 374 183. CLUE IS A MOVING OBJECT ALONG A PATH Metaphor Source aspects Target aspects 183. Moving object reaching a point in a path Discovering an idea Target domain REPUBLIC Mappings of: 191. REPUBLIC IS A LOCATION Metaphor Source aspects Target aspects 191. Running away from a place Stop following a political order Mappings of: 192. REPUBLIC IS A MACHINE Metaphor Source aspects Target aspects 192. Parts of a machine Parts of a political order Target domain WITHDRAWAL Mappings of: 193. A WITHDRAWAL IS A POSSESSION Metaphor Source aspects Target aspects 193. Owning an object Planning a withdrawal 375 Target domain FANTASY Mappings of: 197. FANTASY IS A LOCATION Metaphor Source aspects Target aspects 197. Getting lost in a place Getting lost in one’s thoughts Mappings of: 213. FANTASY IS A CONTAINER Metaphor Source aspects Target aspects 213. Getting an object out of a container Making someone to stop having a fantasy Mappings of: 214. FANTASY IS A VALUABLE OBJECT 217. FANTASY IS AN OBJECT Metaphor Source aspects Target aspects 214. Taking care of an object Taking care of a fantasy 217. Grabbing an object Trying to experience a fantasy Mappings of: 215. FANTASY IS ONLY POSSIBLE POSSESSION Metaphor Source aspects Target aspects 215. Owning just one thing Experiencing a fantasy is the only 382 Metaphor Source aspects Target aspects 266. Losing an object Losing the ability of orienting yourself Target domain ENIGMA Mapeos de: 273. AN ENIGMA IS A LOCATION WITH NO WAY OUT Metaphor Source aspects Target aspects 279. Place with no way out Enigma that cannot be solved Target domain BITTERNESS Mappings of: 275. BITTERNESS IS A SUBSTANCE IN A CONTAINER Metaphor Source aspects Target aspects 275. Substance in the bottom of a container Intense feeling of bitterness Target domain WILL Mappings of: 277. A WILL IS A CONTAINER 286. A WILL IS A CONTAINER Metaphor Source aspects Target aspects 383 277. Introducing something in a container Adding coded information in a will 286. Introducing something in a container Adding coded information about possessions in a will Target domain MAGICAL OTHER Mappings of: 290. MAGICAL OTHER IS MEANINFUL SOUND AMONG NOISE Metaphor Source aspects Target aspects 290. Sound among the noise Person among people Target domain BRUTE REPETITION Mappings of: 291. BRUTE REPETITION IS AN ORIGINATOR Metaphor Source aspects Target aspects 291. Repetition of something producing something else Repetition of conversations producing something new Target domain POSSIBILITIES Mappings of: 293. POSSIBILITIES ARE OBJECTS Metaphor Source aspects Target aspects 293. Group of objects replacing others Group of possibilities replacing others 384 Target domain LAND/EARTH Mappings of: 294. LAND IS A CONTAINER Metaphor Source aspects Target aspects 294. Container in which an object fits Land that accepts on itself the city of San Narciso Mappings of: 295. LAND IS A BODY Metaphor Source aspects Target aspects 295. Introducing an object in the flesh of a body Introducing San Narciso in the fragile part of the land Mappings of: 300. EARTH IS A HIDDEN OBJECT Metaphor Source aspects Target aspects 300. Hidden object Land difficult to see 385 3.4 Conceptual organization in the text. The Crying of Lot 49 moves through a series of complex metaphor systems that interact, as Kövecses (1995) has pointed out, representing abstract concepts such as WORLD and LIFE. In the first chapter, Oedipa Maas is designated co-executor of the Pierce Inverarity legacy; in the conceptualization of this moment, being Oedipa with her husband, Mucho Maas, the present and near past are a succession of identical days: DAYS ARE IDENTICAL CARDS OEDIPA SHUFFLES BACK (3 and 4). Trying to remember the last conversation with Pierce is, in this context, easy, any different card is “readily clear to a trained eye”. Her relationship with Pierce was almost forgotten, Pierce is then conceptualized as about to be OUT OF OEDIPA’S HEAD (5). Oedipa’s reality up to that moment is dealing with a husband who suffers constant crisis: CRISIS IS BEING DOWN IN THE BOTTOM OF A CONTAINER (6), the fact that this location is far from the reach of Oedipa, puts her in a situation of panic: PANIC IS A LOCATION TO WHERE OEDIPA APPROACHES (7). The fact that Oedipa is losing control, when Mucho is “further down perhaps than she could reach”, makes him try to “come back”: CONTROL IS A POSSESION OEDIPA IS ABOUT TO LOSE (8), for this reason, MUCHO IS AN OBJECT BACK IN A CONTAINER. INVERARITY WAS ALMOST OUT OF OEDIPA’S HEAD. But, what was that which remained out of the memory? REVELATION ABOUT A MEMORY IS AN OBJECT OUTSIDE A CONTAINER (9 Y 10). Our knowledge and experience of CONTAINER tells us that something can be introduced and also taken out from it, in this case, the information contained in MEMORY, which was far from Oedipa’s mind, presents this features: MEMORY IS AN INSULATED AND BUFFERING COMPUTER (11). Oedipa’s surroundings can keep her far from her memories, and her present situation, as a married woman, is conceptualized as OEDIPA IS INSIDE THE RAPUNZEL ROLE (12). Being inside the Rapunzel role, Oedipa is contained in a world that develops similarly to that in the tale, and her place of residence, KINNERET (13), becomes a bounded space in her mind, keeping Oedipa captive. 386 The relationship with Pierce in the past had meant a way to get out the captive state of mind, KINNERET, for Pierce WENT UP TO REACH OEDIPA IN HER TOWER (14). However, Oedipa kept being inside the TOWER (15), and what she lived with Pierce became AN OBJECT INSIDE OEDIPA’S TOWER (15). During a trip to Mexico with Pierce, Oedipa saw a painting, for which Pynchon gives this information: the name of the painting is ‘Bordando el Manto Terrestre’ (Embroidering the Earth's mantle), by Remedios Varo8. The description of this painting is a representation of the conceptual metaphors that construct this idea of Oedipa’s isolation: This way, in this description, EMPTY SPACE IS A CONTAINER THAT CANNOT BE FILLED (16) and WORLD IS A CONTAINER (17): WORLD IS A CONTAINER FOR ALL THINGS THAT EXIST, WORLD IS CONTAINED IN A VOID. According to the conceptual metaphor organizing the meaning of the painting, this void is never filled. Following, by means of the blend of three mental spaces, we can observe in the emergent structure why Oedipa is not able to get out of her prison. In the Rapunzel tale input, the elements are Rapunzel, the tower, the rescuer knight, and a space out of the tower; in the painting input, the needlewomen, the tower and an outer space created from the inside; in the input of Oedipa’s reality, Oedipa, her own trapped ego and Pierce 8 Bordando el Manto Terrestre, 1961. Image from http://www.turingmachine.org/remedios/expo.html 387 as potential rescuer. In the blend space we can see that Oedipa, in spite of being out of Kinneret, keeps on being captive, Pierce was not able to rescue her: what does, then, keep her enclosed? EGO IS A TOWER, BORDERS OF THE TOWER ARE BORDERS OF THE EGO: unlike Rapunzel’s tower and the needlewomen’s tower, Oedipa is her own prison. In the second chapter, Oedipa moves towards ANYTHING NEW (26), conceptualized in this case as DESTINATION (26), and drives to San Narciso: SAN NARCISO IS A CONTAINER OEDIPA DRIVES INTO. It is that moment when the comparison between CIRCUIT CARD and HOUSES AND STREETS (28) creates the following conceptual metaphor: PATTERN OF CIRCUIT AND STREETS IS A HIEROGLYPH (29). Information about the order of elements within a circuitry and that of the streets is inaccessible. Such as we know from our understanding of the HIEROGLYPH domain, behind visible PATTERNS there is MEANING, as a HIDDEN 388 OBJECT (30). Therefore, there exists “an intent to communicate”: PRINTED CIRCUIT IS A PERSON WITH INFORMATION TO TELL (31), however, “she knew even less about radios than about Southern Californians”. These conceptualizations are ubiquitous in the novel, behind objects and cities there is concealed meaning Oedipa cannot reach. In this new space, SAN NARCISO, Oedipa is a CONTAINER for REVELATION; REVELATION IS A LIVING ENTITY GOING INTO HER HEAD (32, 33). This way, the feeling of unachievable information is repeated: OEDIPA IS IN A LOCATION, INSTANT (34) and FRECUENCY IS ANOTHER LOCATION (35), where information is out of reach: WORDS ARE UNNOTICED COLD (36). IMMEDIACY IS AN OBJECT MOVING TOWARDS OEDIPA (37), A PROMISE OF HIEROPHANT IS AN OBJECT MOVING TOWARDS OEDIPA (38). IMMEDIACY IS AN OBJECT MOVING TOWARDS OEDIPA. These promises and revelations approach to Oedipa but do not enter in her. Oedipa is a passive agent regarding to information, it arrives to her, immediacy, promise and revelations follow a trajectory towards Oedipa. Oedipa meets Metzger, the other co-executor of Pierce’s legacy. They meet in a motel where they remain for some time and have a brief relationship. Meeting Metzger is, for Oedipa, RELATIONSHIP IS A FORCE THAT CAN SLOW DOWN TIME (41). As we have seen, her relationship with Pierce was confined in CONTAINER, and her relationship with Metzger is temporally static. In the third chapter, CONTAINER, where Oedipa remains, keeps on being her tower, from which she does not know how to get out. Her infidelity is a STARTING POINT (45) towards liberation, and the agent that can accomplish it is TRYSTERO (44). Thus, from her infidelity, further from Mucho, and more involved in her search: OEDIPA’S IDEAS ARE PIECES WHICH FIT TOGETHER (46). Surrounding Oedipa, again, REVELATION IS AN ENTITY MOVING AROUND HER (47), such as when she arrived to San Narciso. Where does REVELATION come 389 from this time? STAMP COLLECTION, A CONTAINER (48): the stamps lot which belonged to Pierce, one of the direct links with Trystero. STAMPS ARE WINDOWS THROUGH WHICH YOU CAN SEE SPACE AND TIME (49, 50), and watching the stamps was an activity Pierce used to practice: “his substitute often for her”, “ignoring her”, “she had never seen the fascination”. In this moment, Oedipa does not believe that the lot of stamps can have any relevant information: STAMP COLLECTION IS A PERSON WITH NOTHING TO TELL (52), “what after all could the mute stamps have told her?” After all, she does not compete with the lot anymore: STAMP COLLECTION IS A LOVER (53), but the final lover is DEATH, A CHEATING LOVER THAT STAYS FOREVER WITH PIERCE (54). Oedipa begins to feel the presence of an idea, Trystero, TRYSTERO IS A PLANT THAT IS BLOOMING (55): ‘Languid, sinister blooming’. Trystero is also conceptualized as PERFORMANCES (57), Oedipa keeps on being surrounded by information, revelations out of her reach, for which she is a mere spectator: BREAKAWAY OF HISTORICAL FIGURATION (58), in LIFE EVENTS ARE PERFORMANCES (58). It is in the darkness of a new space, DAWN (59), where Trystero is: TRYSTERO IS A NAKED PERSON AT THE END OF A LATE PERFORMANCE (61). San Narciso lacks “the unimaginable Pacific”, INDIFFERENT (63). PACIFIC IS A HOLE THE MOON LEFT, A MONUMENT TO HER EXILE (64, 65). Something unnoticeable is AN OBJECT MOVING ALONG A PATH, A FREQUENCY (66, 67, 68), moving towards BRAIN, but it does not arrive. For Oedipa, the Pacific is an “inviolable” entity, nothing can harm it: PACIFIC IS A REDEEMER FOR CALIFORNIA, TRUTH AND UGLINESS ARE SUBSTANCES INSIDE THE PACIFIC. PACIFIC TURNS UGLINESS INTO TRUTH (71, 72, 73, 74, 75). Once Oedipa has returned to the motel, she asks to the young components of a band, that live there, about a theatre play, but she does not obtain a clear answer: MEMORY IS A ROLLED OBJECT THAT UNLOOPS INTO A LOCATION (76, 77, 78). This location where the story “goes” is “strange to map”. Oedipa decides to go see the play herself. 390 When Oedipa is watching the play, where Trystero is mentioned, she feels sucked by the story: PLAY IS A CONTAINER FOR A LANDSCAPE WHERE OEDIPA IS. Trystero is conceptualized in the play as TRYSTERO IS A PERSON YOU MEET. Trystero throughout the narrative is something that never arrives to Oedipa, a revelation, a promise, a person you have to meet but never appears. When the act finishes, lights are turn off but Trystero remains, “hung in the dark to puzzle Oedipa”, from this moment, TRYSTERO IS A WORD WITH POTENTIAL FORCE OVER OEDIPA (79, 80, 81, 82). The feeling of chaos is for Oedipa: CHAOS IS A CONTAINER WHERE OEDIPA WALKS IN, CHAOS IS INTERFERING EMISSIONS COMING FROM EVERYBODY (83, 84, 85, 86). The Access to the meaning through information is far from her, information keeps arriving but she lacks the way of understand it, it is just INTERFERING EMISSIONS (84). After the play, Oedipa speaks with the director, Driblette, and asks him about the text. Driblette tells her that the text is not important, that everything is in his head: PLAY IS AN OBJECT INSIDE DRIBLETTE’S HEAD (83, 84), WORDS ARE ROTE NOISES MOVING ALONG A PATH INSIDE A HEAD (87), REALITY IS AN ON OBJET INSIDE DRIBLETTE, DRIBLETTE IS A PROJECTOR DEVICE PROJECTING REALITY THROUGH ITS LENSES (88, 89, 90, 91). Thus, relevant information for Driblette is that which he can use to create, from it he can direct a play: text is secondary. The questions Oedipa makes can only get an answer through a deep knowledge of Driblette, but Driblette himself warns her that: LIFE IS WASTING A RESOURCE WHILE TRYING TO TOUCH TRUTH (96, 97). Oedipa will make hers this idea; if she cannot reach meaning because information is out of her reach, then she could do the same as Driblette, creating meaning from the inside. In the fourth chapter, while Oedipa is searching for clues about Trystero: TEXT IS A MOVING OBJECT ALONG A PATH THAT OEDIPA CAN FOLLOW (98), RELEVATION IS A LIVING ENTITY THAT OEDIPA COLLECTS (99, 100). Oedipa, as a CONTAINER gets filled with REVELATIONS about Trystero, and 391 everything becomes linked to it: PERCEPTIONS AND THOUGHTS ARE THREADS OF A CLOTH, TRYSTERO (101, 102). Although everything seems to point in the same direction: Trystero, tracing it is as disturbing as the revelations about it, which keep on moving towards Oedipa: “the more she collected the more would come to her”. Now, revelations are inside Oedipa, saturating her. For what Pierce left behind, his legacy, “an organized something”, OEDIPA IS A LIFE GIVER (105), clues and revelations are around her: LIFE IS A DOME AROUND OEDIPA, CREATED BY HER (106, 107), BRINGING THE STATE INTO A PLANETARIUM IS GIVING IT MEANING (108, 109, 110), IGNORANCE IS AN OBSTACLE FOR OEDIPA TO BRING MEANING INTO INFORMATION (111). Oedipa has Access to information around her but she ignores the way to give it meaning. As we have said, at the end of the third chapter, now Oedipa decides to be an active agent, and create meaning by herself. Oedipa needs to reveal the enigma of Trystero: WORLD IS A PROJECTION (112), KNOWLEDGE IS TRACING MEANING, MEANING IS TRACING CONSTELLATIONS OF STARS IN A DOME (113, 114). If she is not able to achieve meaning, she can establish connections between the clues, “anything might help”. Oedipa finds herself in a static situation, she does not know which direction she should take, and decides going to Yoyodyne offices (which belong to Pierce), without a concrete objective. GOING TO ANOTHER LOCATION IS OUTSIDE FORCE THAT GETS OEDIPA OUT OF INERTIA (115, 116). At Yoyodyne, OEDIPA IS INSIDE MURMUR, LOST; BEING LOST IS PANIC GROWING INSIDE OEDIPA´S HEAD (117, 118, 119). Oedipa feels lost, surrounded by a murmur, produces by people who ignore her, and she decides to speak with someone randomly, Koteks, an engineer. Koteks speaks with Oedipa about the Maxwell Demon: INTELLIGENCE IS A LIVING ENTITY SORTING MOLECULES INSIDE A CONTAINER (120, 121, 122). Maxwell Demon is an entity that separates slow molecules from fast molecules; the region with fast molecules is high in heat and the slow molecules area is colder. This temperature difference produces energy to feed an engine. Being the Maxwell Demon the only reason why this energy is produced, the system would be creating energy out of nothing: GETTING SOMETHING OUT OF A CONTAINER WHERE YOU DON’T