從現代修辭學、詩學、符號學、文體學和敘事學之間的同質關係來看，20 世紀 80 年代以來敘事學的理論發展可以間接類推出文體學和詩學理論的特征。赫爾曼（Herman, 1999）區分過經典與後經典理論。他指出，後經典敘事學（postclassical narratology）是建立在經典結構主義敘事學家著作之上的一個框架之上，並補充了結構主義盛行時期巴特、熱奈特、格雷馬斯、托多洛夫等人分析故事的著作中缺少的概念和方法。

20 世紀 80 年代後期以來的敘事學理論，如蘭瑟（Lanser, 1986）的女性敘事學、卡恩斯（Kearns, 1999）的修辭敘事學、弗盧德尼克（Fludernik, 1996）和赫爾曼（Herman, 1999）的認知敘事學都屬於「後經典敘事學」。赫爾曼還指出，敘事學包含了許多術語和方法，堪稱「復數」的敘事學（narratologies）。沿著這個思路，本文認為，20 世紀 90 年代以來的文體學理論，如米爾斯（Mills, 1995）的女性文體學、貝克斯等人（Bex, et al., 2000）的語境化文體學和塞米諾和庫爾佩珀（Semino & Culpeper, 2002）的認知文體學等也可稱作「後經典文體學」。因此，認知詩學屬於「後經典詩學」。

作為當代「文學學」的一個重要流派，認知詩學與修辭、批評、語境、心理、神經等視角的文學研究方法和流派一起構成「復數」的後經典詩學。認知詩學也不特指一個理論或學科，既指認知轉向下文學研究的後經典理論和方法，也指包括文學在內的更廣的文學交流和文化藝術研究。《牛津認知文學研究手冊》里收錄的論文已涉及到視覺藝術、戲劇、電影、電視等領域。詹賽恩（2015: 4）在該文集的「導言」中寫道，讀者可以用作了解這些相關領域的認知方法研究的起點，而且研究的多樣化和不同領域之間的對話將進一步界定未來十年的「認知文學研究」。

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