Playing by Ear and the Tip of the Tongue -- Editorial page -- Title page -- LCC data -- Supported by -- Table of contents -- Preface -- Introduction -- 1.1 Precategorial information and critical communication -- 1.2 "Speech mode", "Nonspeech mode", "Poetic mode" -- 1.3 Thing destruction and thing-free qualities -- 1.4 "The Roses of her Cheeks" -- 1.5 Perceptual boundaries and fusion -- 1.6 "Precategorial" - predecessors and successors -- 1.7 Guide through this book -- The poetic mode of speech perception revisited -- 2.1 Stating the problem -- 2.2 Some experimental evidence -- 2.3 Speech mode, nonspeech mode and poetic mode -- 2.4 Colour and overtone interaction -- 2.5 Individual differences -- 2.6 Summary and conclusions -- The tot phenomenon -- 3.1 The tot phenomenon -- 3.2 Referentiality, serial position, and the "God-gifted organ-voice of England" -- 3.3 Summary and conclusions -- "Oceanic" dedifferentiation and poetic metaphor -- 4.1 Rapid vs. delayed conceptualization -- 4.2 Poetic metaphors -- 4.3 Oceanic Imagery in Faust -- 4.4 Conclusions -- Deixis and abstractions -- 5.1 Sequential and spatial processing -- 5.2 Time in poetry -- 5.3 More on the abstract of the concrete -- 5.4 "Total Complexes" and "Just Noticeable Differences" -- 5.5 Feeling and knowing -- 5.6 Conclusion -- Chapter 6. Three case studies - keats, spenser, baudelaire -- 6.1 Poetry and Altered States of Consciousness -- 6.2 "On See­ing the Elgin Marbles" -- 6.3 Alternative Men­tal Performances -- 6.4 Symbol and Allegory -- 6.5 Keats and Marlowe -- 6.6 Ambiguity and Soft Focus -- 6.7 Chearlesse Night in Spenser and Baudelaire -- 6.8 To Sum Up -- Linguistic devices and ecstatic poetry -- 7.1 Ecstatic quality, linguistic devices, and cognitive processes -- 7.2 Vocal performance and lingering precategorial auditory information -- Defamiliarization Revisited.

Aesthetic qualities as structural resemblance -- 9.1 Emotional qualities and onomatopoeia -- 9.2 Convergent and divergent style -- 9.3 Perceptual forces (large scale) -- 9.4 Perceptual forces (minute scale) -- 9.5 Materials and structures -- Appendix -- Observations on Larsen's criticism of the click experiment -- Metaphor and figure - ground relationship -- 10.1 Basic gestalt rules of figure - ground -- 10.2 Figure and ground in the visual arts -- 10.3 Form in other senses -- 10.4 Figures in narrative -- 10.5 Figure and ground (?) in poetry: Emily Dickinson -- 10.6 Figure and ground (?) in Shakespeare -- 10.7 Figure-ground reversal in music: "Moonlight" Sonata -- 10.8 Literature: Figure-ground reversals of the extralinguistic -- 10.9 Summary and wider perspectives -- Size-sound symbolism revisited -- 11.1 Preliminary -- 11.2 Phlogiston and precategorial information -- 11.3 Sound symbolism and source's size -- 11.3.1 Sound symbolism and referent's size -- 11.4 Descriptive reduplication in Japanese -- 11.5 Methodological comments -- Issues in literary synaesthesia -- 12.1 Synaesthesia as a neuropsychological and a literary phenomenon -- 12.2 Four kinds of explanation -- 12.3 Panchronistic tendencies in synaesthesia -- 12.4 Aesthetic qualities: Witty and emotional -- 12.5 Overriding downward transfers -- 12.6 Synaesthesia and ecstatic quality: Two French sonnets -- 12.6.1 To sum up -- The place of nonconceptual information in university education -- 13.1 Logic of What? -- 13.2 Rapid and Delayed Categorization -- 13.3 Sensuous Metaphors and the Grotesque -- 13.4 Summary and Conclusions -- Points and counterpoints -- 14.1 Persinger's findings and poetry criticism -- 14.2 "Dover Beach" - two cognitive readings -- 14.3 Speculative vs. empirical -- 14.4 "The Sound of Meaning" -- 14.5 Coding strategy and storage time -- 14.6 On interpretation.

14.7 On major/ minor keys -- 14.8 The split brain and poetic qualities -- 14.9 To conclude -- References -- Index.