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In his theory of the novel, Guido Mazzoni explains that novels consist of stories told in any way whatsoever about the experiences of ordinary men and women who exist as contingent beings within time and space. Novels allow readers to step into other lives and other versions of truth, each a small, local world, absolute in its particularity.
Novels began to incorporate literary theory in unexpected ways in the late twentieth century. Through allusion, parody, or implicit critique, theory formed an additional strand in fiction that raised questions about the nature of authorship and the practice of writing. Studying this phenomenon provides fresh insight into the recent development of the novel and the persistence of modern theory beyond the period of its greatest success. In this book, Judith Ryan opens these questions to a range of readers, drawing them into debates over the value of theory. Ryan investigates what prompted fiction writers to incorporate and respond to theory nearly thirty years ago. Designed for readers unfamiliar with the complexities of theory, Ryan’s book introduces the discipline’s major trends and controversies and notes the salient ideas of a carefully selected set of individual thinkers. Ryan follows novelists’ adaptation to and engagement with arguments drawn from theory as they translate abstract ideas into language, structure, and fictional strategy. At the core of her book is a fascinating microstudy of French poststructuralism in its dialogue with narrative fiction. Investigating theories of textuality, psychology, and society in the work of Don DeLillo, Thomas Pynchon, J. M. Coetzee, Margaret Atwood, W. G. Sebald, and Umberto Eco, as well as Monika Maron, Alain Robbe-Grillet, Marguerite Duras, Marilynne Robinson, David Foster Wallace, and Christa Wolf, Ryan identifies subtle negotiations between author and theory and the richness this dynamic adds to texts. Resetting the way we think and learn about literature, her book reads current literary theory while uniquely tracing its shaping of a genre.
A smart, sensual and witty novel about what happens when love and intellect are set on a collision course. This compact tour de force affirms Dionne Brand's place as one of Canada's most dazzling and influential artists. Theory begins as its narrator sets out, like many a graduate student, to write a wildly ambitious thesis on the past, present, and future of art, culture, race, gender, class, and politics--a revolutionary work that its author believes will synthesize and thereby transform the world. While our narrator tries to complete this magnum opus, three lovers enter the story, one after the other, each transforming the endeavour: first, there is beautiful and sensual Selah, who scoffs at the narrator's constant tinkering with academic abstractions; then altruistic and passionate Yara, who rescues every lost soul who crosses her path; and finally, spiritual occultist Odalys, who values magic and superstition over the heady intellectual and cultural circles the narrator aspires to inhabit. Each galvanizing love affair (representing, in turn, the heart, the head and the spirit) upends and reorients the narrator's life and, inevitably, requires an overhaul of the ever larger and more unwieldy dissertation, with results both humorous and poignant. By effortlessly telling this short, intense tale in the voice of an unnamed, ungendered (and brilliantly unreliable) narrator, Dionne Brand makes a bold statement not only about love and personhood, but about race and gender--and what can and cannot be articulated in prose when the forces that inhabit the space between words are greater than words themselves. A gorgeous, profoundly moving, word- and note-perfect novel of ideas that only a great artist at the height of her powers could write.
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.
Screening The Novel by Keith Selby,Robert Giddings,Chris Wensley Pdf
The book takes as its theme the relationship between literature and the contemporary means of production and distribution collectively termed 'the media' - in particular, film and television. The intention of the book is to explore and evaluate the mutual opportunities and restrictions in this relationship. In the grammar of our culture there seems to be an accepted opinion that print is superior in terms of cultural production to film, radio or television, that to read a book is somehow a 'higher' cultural activity than seeing a play on television or seeing a film. By the same token, a novel is a 'superior' work of art to film or television. The longer perspective reveals that traditionally there always is a greater respect paid to the previous mode of literary production - poetry was superior to drama, poetic drama was superior to the novel, and film attained cult and classic status initially over television.
'Einheitliche Feldtheorie'. The final words of his dying mentor will change David Swift's life forever. Within hours of hearing those words, David is arrested, interrogated and almost assassinated. But he's too busy running for his life to work out what it all means. Has he accidentally inherited Einstein's Unified Theory -- a set of equations with the power to destroy the world? Einstein died without discovering the theory. Or did he? Teaming up with his ex-girlfriend and an autistic teenager addicted to video games, David must ensure he survives long enough to find out the truth -- and deal with the terrifying consequences.
Estranging the Novel by Katarzyna Bartoszyńska Pdf
"The author's comparative approach to studying literary form makes a forceful case for a more geographically and formally expansive vision of the novel"--
Novel Judgements is a book about nineteenth century Anglo-American law and literature. But by redefining law as legal theory, Novel judgements departs from ‘socio-legal’ studies of law and literature, often dated in their focus on past lawyering and court processes. This texts ‘theoretical turn’ renders the period’s ‘law-and-literature’ relevant to today’s readers because the nineteenth century novel, when "read jurisprudentially", abounds in representations of law’s controlling concepts, many of which are still with us today. Rights, justice, law’s morality; each are encoded novelistically in stock devices such as the country house, friendship, love, courtship and marriage. In so rendering the public (law) as private (domesticity), these novels expose for legal and literary scholars alike the ways in which law comes to mediate all relationships—individual and collective, personal and political—during the nineteenth century, a period as much under the Rule of Law as the reign of Capital. So these novels pass judgement—a novel judgement—on the extent to which the nineteenth century’s idea of law is collusive with that era’s Capital, thereby opening up the possibility of a new legal theoretical position: that of a critique of the law and a law of critique.
In recent decades, literary critics have praised novel theory for abandoning its formalist roots and defining the novel as a vehicle of social discourse. The old school of novel theory has long been associated with Henry James; the new school allies itself with the Russian theorist Mikhail Bakhtin. In this book, the author argues that actually it was the compatibility of Bakhtin with James that prompted Anglo-American theorists to embrace Bakhtin with such enthusiasm. Far from rejecting James, in other words, recent novel theorists have only refined Jamess foundational recharacterization of the novel as the genre that does not simply represent identity through its content but actually instantiates it through its form. Social Formalismdemonstrates the persistence of Jamess theoretical assumptions from his writings and those of his disciple Percy Lubbock through the critique of Jamesian theory by Roland Barthes, Wayne Booth, and Gérard Genette to the current Anglo-American assimilation of Bakhtin. It also traces the expansion of Jamess influence, as mediated by Bakhtin, into cultural and literary theory. Jamesian social formalism is shown to help determine the widely influential theories of minority identity expounded by such important cultural critics as Barbara Johnson and Henry Louis Gates. Social Formalismthus explains why a tradition that began by defining novelistic value as the formal instantiation of identity ends by defining minority political empowerment as aestheticized self-representation.
Cervantes's Theory of the Novel by E. C. Riley Pdf
E.C. Riley puts Cervantes's theory of prose fiction into critical and historical context by setting it against those of contemporary and earlier writers. First published in 1962 by the Oxford University Press, this work by E. C. Riley, the esteemed Cervantes scholar and former Chair of Hispanic Studies at the University of Edinburgh, has undergone a number of updated editions. This is the most current edition, based on the 1968 revision, and emended in 1992 by the author.
An innovative theory of consciousness, drawing on the phenomenology of Edmund Husserl and supported by brain-imaging, presented in the form of a hardboiled detective story. Professor Grue is dead (or is he?). When graduate student/sleuth Miranda Sharpe discovers him slumped over his keyboard, she does the sensible thing--she grabs her dissertation and runs. Little does she suspect that soon she will be probing the heart of two mysteries, trying to discover what happened to Max Grue, and trying to solve the profound neurophilosophical problem of consciousness. Radiant Cool may be the first novel of ideas that actually breaks new theoretical ground, as Dan Lloyd uses a neo-noir (neuro-noir?), hard-boiled framework to propose a new theory of consciousness.In the course of her sleuthing, Miranda encounters characters who share her urgency to get to the bottom of the mystery of consciousness, although not always with the most innocent motives. Who holds the key to Max Grue's ultimate vision? Is it the computer-inspired pop psychologist talk-show host? The video-gaming geek with a passion for artificial neural networks? The Russian multi-dimensional data detective, or the sophisticated neuroscientist with the big book contract? Ultimately Miranda teams up with the author's fictional alter ego, "Dan Lloyd," and together they build on the phenomenological theories of philosopher Edmund Husserl (1859-1938) to construct testable hypotheses about the implementation of consciousness in the brain. Will the clues of phenomenology and neuroscience converge in time to avert a catastrophe? (The dramatic ending cannot be revealed here.) Outside the fictional world of the novel, Dan Lloyd (the author) appends a lengthy afterword, explaining the proposed theory of consciousness in more scholarly form. Radiant Cool is a real metaphysical thriller--based in current philosophy of mind--and a genuine scientific detective story--revealing a new interpretation of functional brain imaging. With its ingenious plot and its novel theory, Radiant Cool will be enjoyed in the classroom and the study for its entertaining presentation of phenomenology, neural networks, and brain imaging; but, most importantly, it will find its place as a groundbreaking theory of consciousness.
We've all encountered protagonists who, over the course of a novel, turn out to be more complicated than we thought at first. But what does one do with a major character who simplifies as a novel progresses, to the point where even this novel's other characters begin to disregard him? Flat Protagonists shows that writers have undertaken such formal experiments-which give rise to its titular "flat protagonists"-since the novel's incipience. It finds such characters in British and French novels ranging from the late-seventeenth to the early-twentieth century by Aphra Behn, Isabelle de Charrière, Françoise de Graffigny, Thomas Hardy, and Marcel Proust. Marta Figlerowicz argues that these uncommon flat protagonists challenge our larger views about the novel as a genre. Upending a longstanding tradition of valuing characters for their complexity, Figlerowicz proposes that novels, and their characters, should be appreciated for highlighting the limits to how much attention any particular person's self-expression tends to garner, and how much insight anyone has to offer her community. As invitations to consider how we might come across to others, rather than merely how others come across to us, flat protagonists both subvert and complement the more conventional approach to novels as, at their best, sites of instruction in interpersonal empathy.
Social Minds in the Novel is the highly readable sequel to Alan Palmer's award-winning and much-acclaimed Fictional Minds. Here he argues that because of its undue emphasis on the inner, introspective, private, solitary, and individual mind, literary theory tells only part of the story of how characters in novels think. In addition to this internalist view, Palmer persuasively advocates an externalist perspective on the outer, active, public, social, and embodied mind. His analysis reveals, for example, that a good deal of fictional thought is intermental-- joint, group, shared, or collective. Social Minds in the Novel Social minds are not of marginal interest; they are central to our understanding of fictional storyworlds. The purpose of this groundbreaking and important book is to put the complex and fascinating relationship between social and individual minds at the heart of narrative theory. The book will be of interest to scholars in narrative theory, cognitive poetics or stylistics, cognitive approaches to literature, philosophy of mind, social psychology, and the nineteenth-century novel. focuses primarily on the epistemological and ethical debate in the nineteenth-century novel about the extent of our knowledge of the workings of other minds and the purposes to which this knowledge should be put. Palmer's illuminating approach is pursued through skillful and provocative readings of Bleak House, Middlemarch, and Persuasion, and, in addition, Evelyn Waugh's Men at Arms and Ian McEwan's Enduring Love.
A new world, no longer brave. It's the near future, a time of new technologies – "bodyware" implants having replaced most past means of communication – but also of climate change and dwindling resources. Francine is a luminary in her field of evolutionary science. She joins the Foundation to study a colony of bonobo apes: remarkable animals, and the perfect creatures to certify her revolutionary feminist theory of reproduction. When the terrible, dry winds rise up and cut off the Foundation, silencing all the devices and endangering the survival of animals and humans alike, Francine and the man she has grown to love make a decision that may determine the possibility of a premature ending or a chance to start life over. A literary novel with elements of dystopia and science fiction, Theory of Bastards is an absorbing, recognizable story that will keep readers turning the pages.
