Chiasmus fundamentally involves iconicity. As a
bi-lateral symmetrical figure that can have both an ornamental and a
rhetorical function, it occurs on all levels of texts–sounds and
graphemes, words, sentences, lines, chapters and entire books as
well as on the narrative and on the conceptual level. The chiastic
mirror-image design in which the second part is balanced against the
first is however not limited to language but also appears in art and
architecture. As recent cognitive research has shown, chiasmus forms
an important strategy through its simple but unique design. This has
to do with its spatial shape and how the crisscrossing of lines and
paths that takes place in the X-figure is cognised, perceptually and
experientially – suggesting itself as the origin of human abilities
such as forming analogies and using conceptual integration. This is
what my contribution explores, with example from James Joyce’s
Ulysses.
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