I derived a top-down conception of such dichotomies of period styles as Classic-Romantic, and such notions of style-types as Manneristic-Nonmanneristic. The latter dichotomy places, e.g., "Classic" and "Romantic" at the Nonmanneristic pole, Modernism and 17th-Century Metaphysical poetry at the Manneristic pole.
Every sign consists of a signifiant and a signifié. According to Cognitive Poetics, humans, being sign-using animals, are programmed to move as rapidly as possible from the signifiant to the signifié, to extract as quickly as possible the information required for survival or adaptation. According to Jakobson, poetic texts require the reader to linger on the signifiant for a longer time than do nonpoetic texts, before moving on to the signifié. Strings of phonemes are the signifiants of semantic clusters (called meaning) in verbal signs called words. Poetry imposes additional patterns on the phonological signifiant, called, e.g., meter, alliteration, rhyme. This is an aesthetic organizing principle. Thus, the aesthetic organization focuses more than is done usually on the string of phonemes, disrupting (or delaying at least) the automatic transition from the signifiant to the signifié. According to Cognitive Poetics, such delay or disruption may reach different degrees of awareness: in Manneristic styles we are more aware of the separateness of the signifiant and the signifié than in Nonmanneristic styles. Consequently, while in Romantic poetry sound patterns may be fused smoothly and perceived as "musical," in Metaphysical poetry they may stand out and be perceived as witty punning. While in most poetry the highest signifiant that is typically foregrounded is the phonological signifier, in "picture poetry" (an extreme instance of Mannerism) the graphemic signifier of the phonological signifier is foregrounded as well, resulting in a more than usually witty quality.
In this way, Cognitive Poetics may systematically relate perceived effects to structures, as suggested in my answer to your first question.