A SCHOLARLY BOOK REPOSITORY11 start with E start with E
Echo Chambers provides an illuminating discussion of the representation of “voice” in novels by Dickens, Joyce, Faulkner, Lowry, and Gaddis. Focusing on the paradoxes of “voice” as an indication of how different authors understand the contradictions of “identity,” O'Donnell charts the recent history of subjectivity as reflected in the development of modern fiction. With strong theoretical underpinning—O'Donnell skillfully utilizes the theories formulated by Bakhtin, Derrida, Bersani, De Man, Deleuze, and Guattari, among others, and the semiotics of voice put forth by Julia Kristeva—Echo Chambers shows how identity is inherently contradictory, conflicted, and multiple.
This insightful volume compellingly demonstrates that “voice” is a revealing (because contradictory and heterogeneous) site where language, the body, culture, and subjectivity meet. Echo Chambers makes an important contribution to the study of modern literature, the semiotics of identity, and cultural poetics as they are informed by the projections of voice in modern narrativ
Why do some surprises delight—the endings of Agatha Christie novels, films like The Sixth Sense, the flash awareness that Pip’s benefactor is not (and never was!) Miss Havisham? Writing at the intersection of cognitive science and narrative pleasure, Vera Tobin explains how our brains conspire with stories to produce those revelatory plots that define a “well-made surprise.”
By tracing the prevalence of surprise endings in both literary fiction and popular literature and showing how they exploit our mental limits, Tobin upends two common beliefs. The first is cognitive science’s tendency to consider biases a form of moral weakness and failure. The second is certain critics’ presumption that surprise endings are mere shallow gimmicks. The latter is simply not true, and the former tells at best half the story. Tobin shows that building a good plot twist is a complex art that reflects a sophisticated understanding of the human mind.
Reading classic, popular, and obscure literature alongside the latest research in cognitive science, Tobin argues that a good surprise works by taking advantage of our mental limits. Elements of Surprise describes how cognitive biases, mental shortcuts, and quirks of memory conspire with stories to produce wondrous illusions, and also provides a sophisticated how-to guide for writers. In Tobin’s hands, the interactions of plot and cognition reveal the interdependencies of surprise, sympathy, and sense-making. The result is a new appreciation of the pleasures of being had.
Moving beyond dominant literary critical thinking, Thompson argues that for Emerson, rhetoric was both imaginative and nonsystematic. This book covers the influences of rhetoricians from a range of periods on Emerson’s model of rhetoric. Drawing on Emerson’s manuscript notes, journal entries, and some of his rarely discussed essays and lectures as well as his more famous works, the author bridges the divide between literary and rhetorical studies, expanding our understanding of this iconic nineteenth-century man of letters.
The book examines criticism on interactive fiction from both proponents and skeptics and examines similarities and differences between print and hypertext fiction. It looks closely at critically acclaimed interactive works, including Stuart Moulthrop's Victory Garden and Michael Joyce's Afternoon: A Story that illuminate how these hypertext narratives "work." While she sees this as a still-evolving technology and medium, the author identifies possible developments for the future of storytelling from outstanding examples of Web-based fiction and CD-ROM narratives, possibilities that will enable narratives to both portray the world with greater realism an to transcend the boundaries of novels and films, character and plot alike.
Written to be accessible to a wide range of readers, this lively and accessibly-written volume will appeal to those interested in technology and cyberculture, as well as to readers familiar with literary criticism and modern fiction.
J. Yellowlees Douglas is the Director of the William and Grace Dial Center for Written and Oral Communication, University of Florida. She is the author of numerous articles and essays on the subject of hypertext and interactive literature.
To explore the methodological possibilities within “econarratology,” the contributors evaluate the mechanics of how narratives convey environmental understanding via building blocks such as the organization of time and space, characterization, focalization, description, and narration. They also query how readers emotionally and cognitively engage with such representations and how the process of encountering different environments in narratives stands to affect real-world attitudes and behaviors. By positioning narratives as important repositories of values, political and ethical ideas, and behaviors that determine how we engage with our ecological homes, the authors in this volume suggest that to change the way that we interact with the environment requires not only new stories but also a better understanding of the ones that have long been in circulation.
Ethics and the Dynamic Observer Narrator contributes to scholarship on both narrative theory and the historical and cultural context of German and Austrian literary studies. Narrative theory, according to Byram, should understand this form to register complex interactions between history and narrative form. Byram also juxtaposes new readings of works by Textor, Storm, and Raabe from the nineteenth century with analyses of twentieth-century works by Grass, Handke, and Sebald, ultimately reframing our understanding of literary Vergangenheitsbewältigung, or the struggle to come to terms with the past. Overall, Byram shows that neither the problem of reckoning with the past nor the dynamic observer form is unique to Germany’s post-WWII era. Both are products of the dynamics of modern identity, surfacing whenever critical change separates what was from what is.
The romance genre was a popular literary form among writers and readers in the nineteenth and early twentieth centuries, but since then it has often been dismissed as juvenile, unmodern, improper, or subversive. In this study, William J. Scheick seeks to recover the place of romance in fin-de-siècle England and America; to distinguish among its subgenres of eventuary, aesthetic, and ethical romance; and to reinstate ethical romance as a major mode of artistic expression.
Scheick argues that the narrative maneuvers of ethical romance dissolve the boundary between fiction and fact. In contrast to eventuary romances, which offer easily consumed entertainment, or aesthetic romances, which urge upon readers a passive appreciation of a wondrous work of art, ethical romances potentially disorient and reorient their readers concerning some metaphysical insight hidden within the commonplace. They prompt readers to question what is real and what is true, and to ponder the wonder of life and the text of the self, there to detect what the reader might do in the art of his or her own life
The authors whose works Scheick discusses are Nathaniel Hawthorne, H. Rider Haggard, Henry James, C. J. Cutcliffe Hyne, H. G. Wells, John Kendrick Bangs, Gilbert K. Chesterton, Richard Harding Davis, Stephen Crane, Mary Austin, Jack London, Robert Louis Stevenson, Mary Cholmondeley, and Rudyard Kipling. This wide selection expands the canon to include writers and works that highly merit re-reading by a new generation.
--Robin Bady, Storyteller, Arts Educator, Brooklyn, New York
The history of the American Southwest in large part entails the transformation of lived, embodied space into zones of police surveillance, warehouse districts, highway interchanges, and shopping malls—a movement that Chicana writers have contested from its inception. Brady examines this long-standing engagement with space, first in the work of early newspaper essayists and fiction writers who opposed Anglo characterizations of Northern Sonora that were highly detrimental to Mexican Americans, and then in the work of authors who explore border crossing. Through the writing of Sandra Cisneros, Cherríe Moraga, Terri de la Peña, Norma Cantú, Monserrat Fontes, Gloria Anzaldúa, and others, Brady shows how categories such as race, gender, and sexuality are spatially enacted and created—and made to appear natural and unyielding. In a spatial critique of the war on drugs, she reveals how scale—the process by which space is divided, organized, and categorized—has become a crucial tool in the management and policing of the narcotics economy.
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