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WHY WE READ FICTION: THEORY OF THE MIND AND THE NOVEL
The Ohio State University Press, 2006 Cloth: 978-0-8142-1028-4 | eISBN: 978-0-8142-7533-7 | Paper: 978-0-8142-5151-5 Library of Congress Classification PN3331.Z86 2006 Dewey Decimal Classification 809.3
ABOUT THIS BOOK | REVIEWS | TOC
ABOUT THIS BOOK
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. See other books on: Books and reading | Cognitive science | NOVEL | THEORY | ZUNSHINE, LISA See other titles from The Ohio State University Press |
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Nearby on shelf for Literature (General) / Prose. Prose fiction / Philosophy, theory, etc.:
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WHY WE READ FICTION: THEORY OF THE MIND AND THE NOVEL
ABOUT THIS BOOK | REVIEWS | TOC
The Ohio State University Press, 2006
Cloth: 978-0-8142-1028-4
eISBN: 978-0-8142-7533-7
Paper: 978-0-8142-5151-5
Cloth: 978-0-8142-1028-4
eISBN: 978-0-8142-7533-7
Paper: 978-0-8142-5151-5
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.
ABOUT THIS BOOK | REVIEWS | TOC
