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Why we read fiction : theory of mind and the novel

Author: Lisa Zunshine
Publisher: Columbus : Ohio State University Press, ©2006.
Series: Theory and interpretation of narrative series.
Edition/Format:   eBook : Document : EnglishView all editions and formats
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  Read more...
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Genre/Form: Fiction
Electronic books
Additional Physical Format: Print version:
Zunshine, Lisa.
Why we read fiction.
Columbus : Ohio State University Press, ©2006
(DLC) 2005028358
(OCoLC)61879625
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Lisa Zunshine
ISBN: 9780814272633 0814272630 081425151X 9780814251515 0814210287 9780814210284
OCLC Number: 971252586
Description: 1 online resource (x, 198 pages) : illustrations.
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!
Series Title: Theory and interpretation of narrative series.
Responsibility: Lisa Zunshine.
More information:

Abstract:

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.

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