Why We Read Fiction : Theory of Mind and the Novel / Lisa Zunshine.

By: Contributor(s): Material type: TextTextSeries: Theory and interpretation of narrative | Book collections on Project MUSEPublisher: Columbus : The Ohio State University Press, [2006]Manufacturer: Baltimore, Md. : Project MUSE, 2021Copyright date: ©[2006]Description: 1 online resource (200 pages): illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780814272633
Subject(s): Genre/Form: Online resources:
Contents:
pt. 1. Attributing minds. Why did Peter Walsh tremble? -- What is mind-reading (also known as theory of mind)? -- Theory of mind, autism, and fiction : four caveats -- "Effortless" mind-reading -- Why do we read fiction? -- The novel as a cognitive experiment -- Can cognitive science tell us why we are afraid of Mrs. Dalloway? -- The relationship between a "cognitive" analysis of Mrs. Dalloway and the larger field of literary studies -- Woolf, Pinker, and the project of interdisciplinarity -- pt. 2. Tracking minds. Whose thought is it, anyway? -- Metarepresentational ability and schizophrenia -- Everyday failures of source-monitoring -- Monitoring fictional states of mind -- "Fictional" and "history" -- Tracking minds in Beowulf -- Don Quixote and his progeny -- Source-monitoring, ToM, and the figure of the unreliable narrator -- Source-monitoring and the implied author -- Richardson's Clarissa : the progress of the elated bridegroom -- Nabokov's Lolita : the deadly demon meets and destroys the tenderhearted boy -- pt. 3. Concealing minds. ToM and the detective novel : what does it take to suspect everybody? -- Why is reading a detective story a lot like lifting weights at the gym? -- Metarepresentationality and some recurrent patterns of the detective story -- A cognitive evolutionary perspective : always historicize! -- Conclusion : why do we read (and write) fiction? Authors meet their readers -- Is this why we read fiction? surely, there is more to it!
Summary: Why We Read Fiction offers a lucid overview of the most exciting area of research in contemporary cognitive psychology known as "Theory of Mind" and discusses its implications for literary studies. It covers a broad range of fictional narratives, from Richardson s Clarissa, Dostoyevski's Crime and Punishment, and Austen s Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett s The Maltese Falcon. Zunshine's surprising new interpretations of well-known literary texts and popular cultural representations constantly prod her readers to rethink their own interest in fictional narrative. Written for a general audience, this study provides a jargon-free introduction to the rapidly growing interdisciplinary field known as cognitive approaches to literature and culture.
Tags from this library: No tags from this library for this title. Log in to add tags.
Star ratings
    Average rating: 0.0 (0 votes)
No physical items for this record

pt. 1. Attributing minds. Why did Peter Walsh tremble? -- What is mind-reading (also known as theory of mind)? -- Theory of mind, autism, and fiction : four caveats -- "Effortless" mind-reading -- Why do we read fiction? -- The novel as a cognitive experiment -- Can cognitive science tell us why we are afraid of Mrs. Dalloway? -- The relationship between a "cognitive" analysis of Mrs. Dalloway and the larger field of literary studies -- Woolf, Pinker, and the project of interdisciplinarity -- pt. 2. Tracking minds. Whose thought is it, anyway? -- Metarepresentational ability and schizophrenia -- Everyday failures of source-monitoring -- Monitoring fictional states of mind -- "Fictional" and "history" -- Tracking minds in Beowulf -- Don Quixote and his progeny -- Source-monitoring, ToM, and the figure of the unreliable narrator -- Source-monitoring and the implied author -- Richardson's Clarissa : the progress of the elated bridegroom -- Nabokov's Lolita : the deadly demon meets and destroys the tenderhearted boy -- pt. 3. Concealing minds. ToM and the detective novel : what does it take to suspect everybody? -- Why is reading a detective story a lot like lifting weights at the gym? -- Metarepresentationality and some recurrent patterns of the detective story -- A cognitive evolutionary perspective : always historicize! -- Conclusion : why do we read (and write) fiction? Authors meet their readers -- Is this why we read fiction? surely, there is more to it!

Open Access Unrestricted online access star

Why We Read Fiction offers a lucid overview of the most exciting area of research in contemporary cognitive psychology known as "Theory of Mind" and discusses its implications for literary studies. It covers a broad range of fictional narratives, from Richardson s Clarissa, Dostoyevski's Crime and Punishment, and Austen s Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett s The Maltese Falcon. Zunshine's surprising new interpretations of well-known literary texts and popular cultural representations constantly prod her readers to rethink their own interest in fictional narrative. Written for a general audience, this study provides a jargon-free introduction to the rapidly growing interdisciplinary field known as cognitive approaches to literature and culture.

Description based on print version record.

There are no comments on this title.

to post a comment.