What makes a story a story? What is style? What's the connection between realism and real life? These are some of the questions James Wood answers in How Fiction Works, the first book-length essay by the preeminent critic of his generation.
The result is nothing less than a philosophy of the novel—plainspoken, funny, blunt—in the traditions of E. It sums up two decades of insight with wit and concision. It will change the way you read. Drawing on a wide range of Dickens's writings, including all of his novels and a selection of his letters, journalism, and shorter fiction, Dickens, Family, Authorship provides a provocative account of the evolution of an author from whose psychological honesty and imaginative generosity emerged precocious fictional portents of Freudian and post-Freudian theory.
The decade was pivotal in Dickens's career. A phase of feverish activity on both personal and professional fronts, it included the irrevocable souring of his relations with his parents, the peripatetic residence in continental Europe, and a massive proliferation of writing and editing activities including the aborted autobiography.
It was a period of astounding creativity which consolidated Dickens's authorial and financial stature. It was also one tainted by loss: the deaths of his father, sister and daughter, and the alarming desertion of his early facility for composition. Lynn Cain's substantial study of the four novels produced during this turbulent decade - Martin Chuzzlewit, Dombey and Son, David Copperfield and Bleak House - traces the evolution of Dickens's creative imagination to discover in the modulating fictional representation of family relationships a paradigm for his authorial development.
Closely argued readings demonstrate a reorientation from a patriarchal to a maternal dynamic which signals a radical shift in Dickens's creative technique. Interweaving critical analysis of the four novels with biography and the linguistic and psychoanalytic writings of modern theorists, especially Kristeva and Lacan, Lynn Cain explores the connection between Dickens's susceptibility to depression during this period and his increasingly self-conscious exploitation of his own mental states in his fiction.
Eliot uses this story, with its tragic implications, to explore the dangers of reliance on religious and social norms to govern destructive desires.
As this edition demonstrates, Adam Bede addresses profound questions of morality, religion, and the role of women in society, while at the same time seeking to establish a new aesthetic for fiction. Wouldn't you like: - Products that don't damage the environment? Climate change?
Nuclear power? Renewable energy? Environmental issues can feel overwhelming. But, in fact, it is simple; it all comes down to one thing - stuff. Our use of the Earth's resources - whether a crisp packet or a cargo ship, a T-shirt or a wind turbine - has an inescapable impact on our future.
Her inventory of over-consumption may shock but it is the first step towards overcoming waste. The misuse of stuff is not your fault, it's a product of history. But it is only by understanding what has gone wrong, that everyone - politicians, business people and us as consumers - can create a new and better material world. This updated survey of Christian ethics addresses major thinkers, movements, and issues from the early church to the present.
A broad range of topics is discussed, including the biblical and philosophical legacies of Christian ethics and ethics through the early, medieval, Reformation, Enlightenment, and modern eras. This new edition contains more extensive discussions of ethics in the twentieth century, including Vatican II, ecumenical social ethics, and Orthodox Christian ethics. A new section, "Toward the Third Millennium," looks at the issues we will face in the coming decades, including medical, scientific, and political dilemmas, and issues of terrorism, war, and peace.
A highly entertaining A-to-Z guide to the unique dialect of the city of Glasgow. Do you have a baldy clue as to who the bears and junglies are? Puzzled by the thought of some cheekywatter from your cargo? Fancy a day out at Fort Weetabix? Or would you rather settle down with some swedgers?
After all, you don't want to be a stank dodger. You need this book! It was also one tainted by loss: the deaths of his father, sister and daughter, and the alarming desertion of his early facility for composition.
Lynn Cain's substantial study of the four novels produced during this turbulent decade - Martin Chuzzlewit, Dombey and Son, David Copperfield and Bleak House - traces the evolution of Dickens's creative imagination to discover in the modulating fictional representation of family relationships a paradigm for his authorial development.
Closely argued readings demonstrate a reorientation from a patriarchal to a maternal dynamic which signals a radical shift in Dickens's creative technique.
Interweaving critical analysis of the four novels with biography and the linguistic and psychoanalytic writings of modern theorists, especially Kristeva and Lacan, Lynn Cain explores the connection between Dickens's susceptibility to depression during this period and his increasingly self-conscious exploitation of his own mental states in his fiction.
Eliot uses this story, with its tragic implications, to explore the dangers of reliance on religious and social norms to govern destructive desires. As this edition demonstrates, Adam Bede addresses profound questions of morality, religion, and the role of women in society, while at the same time seeking to establish a new aesthetic for fiction.
A broad range of topics is discussed, including the biblical and philosophical legacies of Christian ethics and ethics through the early, medieval, Reformation, Enlightenment, and modern eras. This new edition contains more extensive discussions of ethics in the twentieth century, including Vatican II, ecumenical social ethics, and Orthodox Christian ethics.
A new section, "Toward the Third Millennium," looks at the issues we will face in the coming decades, including medical, scientific, and political dilemmas, and issues of terrorism, war, and peace. This cognitive turn has been equally generative and contentious. While cognitive literary studies has reinforced how central the concept of mind is to aesthetic practice from the classical period to the present, critics have questioned its literalism and selective borrowing of scientific authority.
Mindful Aesthetics presents both these perspectives as part of a broader consideration of the ongoing and vital importance of shifting concepts of mind to both literary and critical practice. This collection contributes to the forging of a 'new interdisciplinarity,' to paraphrase Alan Richardson's recent preface to the Neural Sublime, that is more concerned with addressing how, rather than why, we should navigate the increasingly narrow gap between the humanities and the sciences.
Empathy and the Novel presents a comprehensive account of the relationships among novel reading, empathy, and altruism. Drawing on psychology, narrative theory, neuroscience, literary history, philosophy, and recent scholarship in discourse processing, Keen brings together resources and challenges for the literary study of empathy and the psychological study of fiction reading.
Empathy robustly enters into affective responses to fiction, yet its role in shaping the behavior of emotional readers has been debated for three centuries. Keen surveys these debates and illustrates the techniques that invite empathetic response. She argues that the perception of fictiveness increases the likelihood of readers' empathy in part by releasing them from the guarded responses necessitated by the demands of real others. Narrative empathy is a strategy and subject of contemporary novelists from around the world, writers who tacitly endorse the potential universality of human emotions when they call upon their readers' empathy.
If narrative empathy is to be taken seriously, Keen suggests, then women's reading and responses to popular fiction occupy a central position in literary inquiry, and cognitive literary studies should extend its range beyond canonical novels. In short, Keen's study extends the playing field for literature practitioners, causing it to resemble more closely that wide open landscape inhabited by readers.
The book leads us through the facts surrounding the skyscraper's conception and construction, then enters into a provocative theoretical discussion of its function as an icon, its representation in pictures, literature, and film, and the implications of its iconic status as New York's most important architectural monument to ambition and optimism.
The Empire State Building literally cannot be seen in its totality, from any perspective. And paradoxically, this building of unmistakable solidity has been made invisible by familiarity and reproduction through imagery.
Drawing on a wide range of Dickens's writings, including all of his novels and a selection of his letters, journalism, and shorter fiction, Dickens, Family, Authorship provides a provocative account of the evolution of an author from whose psychological honesty and imaginative generosity emerged precocious fictional portents of Freudian and post-Freudian theory. The decade was pivotal in Dickens's career. A phase of feverish activity on both personal and professional fronts, it included the irrevocable souring of his relations with his parents, the peripatetic residence in continental Europe, and a massive proliferation of writing and editing activities including the aborted autobiography.
It was a period of astounding creativity which consolidated Dickens's authorial and financial stature. It was also one tainted by loss: the deaths of his father, sister and daughter, and the alarming desertion of his early facility for composition. Lynn Cain's substantial study of the four novels produced during this turbulent decade - Martin Chuzzlewit, Dombey and Son, David Copperfield and Bleak House - traces the evolution of Dickens's creative imagination to discover in the modulating fictional representation of family relationships a paradigm for his authorial development.
Closely argued readings demonstrate a reorientation from a patriarchal to a maternal dynamic which signals a radical shift in Dickens's creative technique. Interweaving critical analysis of the four novels with biography and the linguistic and psychoanalytic writings of modern theorists, especially Kristeva and Lacan, Lynn Cain explores the connection between Dickens's susceptibility to depression during this period and his increasingly self-conscious exploitation of his own mental states in his fiction.
Eliot uses this story, with its tragic implications, to explore the dangers of reliance on religious and social norms to govern destructive desires. As this edition demonstrates, Adam Bede addresses profound questions of morality, religion, and the role of women in society, while at the same time seeking to establish a new aesthetic for fiction. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre.
Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format. Philip Wogaman J. Philip Wogaman. Author : J. This updated survey of Christian ethics addresses major thinkers, movements, and issues from the early church to the present. A broad range of topics is discussed, including the biblical and philosophical legacies of Christian ethics and ethics through the early, medieval, Reformation, Enlightenment, and modern eras.
This new edition contains more extensive discussions of ethics in the twentieth century, including Vatican II, ecumenical social ethics, and Orthodox Christian ethics. A new section, "Toward the Third Millennium," looks at the issues we will face in the coming decades, including medical, scientific, and political dilemmas, and issues of terrorism, war, and peace.
In the last few decades, literary critics have increasingly drawn insights from cognitive neuroscience to deepen and clarify our understanding of literary representations of mind. This cognitive turn has been equally generative and contentious.
While cognitive literary studies has reinforced how central the concept of mind is to aesthetic practice from the classical period to the present, critics have questioned its literalism and selective borrowing of scientific authority. Mindful Aesthetics presents both these perspectives as part of a broader consideration of the ongoing and vital importance of shifting concepts of mind to both literary and critical practice.
This collection contributes to the forging of a 'new interdisciplinarity,' to paraphrase Alan Richardson's recent preface to the Neural Sublime, that is more concerned with addressing how, rather than why, we should navigate the increasingly narrow gap between the humanities and the sciences. Does empathy felt while reading fiction actually cultivate a sense of connection, leading to altruistic actions on behalf of real others?
Empathy and the Novel presents a comprehensive account of the relationships among novel reading, empathy, and altruism. Drawing on psychology, narrative theory, neuroscience, literary history, philosophy, and recent scholarship in discourse processing, Keen brings together resources and challenges for the literary study of empathy and the psychological study of fiction reading.
Empathy robustly enters into affective responses to fiction, yet its role in shaping the behavior of emotional readers has been debated for three centuries. Keen surveys these debates and illustrates the techniques that invite empathetic response. She argues that the perception of fictiveness increases the likelihood of readers' empathy in part by releasing them from the guarded responses necessitated by the demands of real others. Narrative empathy is a strategy and subject of contemporary novelists from around the world, writers who tacitly endorse the potential universality of human emotions when they call upon their readers' empathy.
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