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The Ohio State University Press
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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.

Table of Contents

  1. Cover
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  1. Series Page, Title Page, Copyright Page
  2. pp. i-iv
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  1. Contents
  2. pp. v-vi
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  1. List of Illustrations
  2. pp. vii-viii
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  1. Acknowledgments
  2. pp. ix-x
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  1. PART I. Attributing Minds
  1. Why Did Peter Walsh Tremble?
  2. pp. 3-6
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  1. What Is Mind-Reading(Also Known as Theory of Mind)?
  2. pp. 6-9
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  1. Theory of Mind, Autism, and Fiction:Three Caveats
  2. pp. 10-12
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  1. “Effortless” Mind-Reading
  2. pp. 13-16
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  1. Why Do We Read Fiction?
  2. pp. 16-22
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  1. The Novel as a Cognitive Experiment
  2. pp. 22-27
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  1. Can Cognitive Science Tell Us Why We AreAfraid of Mrs. Dalloway?
  2. pp. 27-36
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  1. The Relationship Between a “Cognitive”Analysis of Mrs. DallowayAnd the Larger Field of Literary Studies
  2. pp. 36-40
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  1. Woolf, Pinker, and the Project Of Interdisciplinarity
  2. pp. 40-44
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  1. PART II. Tracking Minds
  1. Whose Thought Is It, Anyway?
  2. pp. 47-54
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  1. Metarepresentational Ability And Schizophrenia
  2. pp. 54-58
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  1. Everyday Failures of Source-Monitoring
  2. pp. 58-60
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  1. Monitoring Fictional States of Mind
  2. pp. 60-65
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  1. “Fiction” and “History”
  2. pp. 65-73
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  1. Tracking Minds in Beowulf
  2. pp. 73-75
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  1. Don Quixote and His Progeny
  2. pp. 75-77
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  1. Source-Monitoring, Tom, and the Figure of The Unreliable Narrator
  2. pp. 77-79
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  1. Source-Monitoring and the Implied Author
  2. pp. 79-82
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  1. Richardson’s Clarissa: The Progress of The Elated Bridegroom
  2. pp. 82-100
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  1. Nabokov’s Lolita: The Deadly Demon Meets And Destroys the Tenderhearted Boy
  2. pp. 100-118
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  1. PART III. Concealing Minds
  1. Tom and the Detective Novel: What Does It Take To Suspect Everybody?
  2. pp. 121-123
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  1. Why Is Reading a Detective Story a Lot Like Lifting Weights at the Gym?
  2. pp. 123-128
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  1. Metarepresentationality and Some Recurrent Patterns of the Detective Story
  2. pp. 128-153
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  1. A Cognitive Evolutionary Perspective: Always Historicize!
  2. pp. 153-156
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  1. Conclusion: Why Do We Read (and Write) Fiction?
  2. pp. 157-158
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  1. Authors meet Their Readers
  2. pp. 159-162
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  1. Is This Why We Read Fiction? Surely, There Is More to It!
  2. pp. 162-164
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  1. Notes
  2. pp. 165-180
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  1. Bibliography
  2. pp. 181-192
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  1. Index
  2. pp. 193-198
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  1. Other Titles in the Series
  2. pp. 199-200
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Additional Information

ISBN
9780814272633
Related ISBN(s)
9780814251515
MARC Record
OCLC
971252586
Pages
200
Launched on MUSE
2021-01-13
Language
English
Open Access
Yes
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