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Turner argues that story, projection, and parable precede grammar, that language follows from these mental capacities as a consequence. Language, he concludes, is the child of the literary mind.
What might behaviorism, that debunked school of psychology, tell us about literature? If inanimate objects such as novels or poems have no mental properties of their own, then why do we talk about them as if they do? Why do we perceive the minds of characters, narrators, and speakers as if they were comparable to our own? In Behaviorism, Consciousness, and the Literary Mind, Joshua Gang offers a radical new approach to these questions, which are among the most challenging philosophical problems faced by literary study today. Recent cognitive criticism has tried to answer these questions by looking for similarities and analogies between literary form and the processes of the brain. In contrast, Gang turns to one of the twentieth century's most infamous psychological doctrines: behaviorism. Beginning in 1913, a range of psychologists and philosophers—including John B. Watson, B. F. Skinner, and Gilbert Ryle—argued that many of the things we talk about as mental phenomena aren't at all interior but rather misunderstood behaviors and physiological processes. Today, behaviorism has relatively little scientific value, but Gang argues for its enormous critical value for thinking about why language is so good at creating illusions of mental life. Turning to behaviorism's own literary history, Gang offers the first sustained examination of the outmoded science's place in twentieth-century literature and criticism. Through innovative readings of figures such as I. A. Richards, the American New Critics, Samuel Beckett, Harold Pinter, and J. M. Coetzee, Behaviorism, Consciousness, and the Literary Mind reveals important convergences between modernist writers, experimental psychology, and analytic philosophy of mind—while also giving readers a new framework for thinking about some of literature's most fundamental and exciting questions.
This book offers a witty explanation of why boredom both haunts and motivates the literary imagination. Moving from Samuel Johnson to Donald Barthelme, from Jane Austen to Anita Brookner, Spacks shows us at last how we arrived in a postmodern world where boredom is the all-encompassing name we give our discontent. Her book, anything but boring, gives us new insight into the cultural usefulness—and deep interest—of boredom as a state of mind.
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.
Explains what the mind is, how it evolved, and how it allows us to see, think, feel, laugh, interact, enjoy the arts, and ponder the mysteries of life.
Literary Learning explores the nature of literary knowledge and offers guidance for effective teaching of literature at the college level. What do English majors need to learn? How can we help them develop the skills and knowledge they need? By identifying the habits of mind that literary scholars use in their own research and writing, Sherry Lee Linkon articulates the strategic knowledge that lies at the heart of the discipline, offering important insights and models for beginning and experienced teachers.
This is the first book-length study in English of Wenxin diaolong by Liu Xie (ca. 465-521), arguably the most complex and comprehensive work of literary criticism in ancient China. For centuries it has intrigued and inspired Chinese literati, and modern English-speaking scholars have also found it an important source for the study of traditional Chinese poetics and aesthetics.
In a radical reinterpretation of how the mind works, an eminent behavioral scientist reveals the illusion of mental depth Psychologists and neuroscientists struggle with how best to interpret human motivation and decision making. The assumption is that below a mental “surface” of conscious awareness lies a deep and complex set of inner beliefs, values, and desires that govern our thoughts, ideas, and actions, and that to know this depth is to know ourselves. In this profoundly original book, behavioral scientist Nick Chater contends just the opposite: rather than being the plaything of unconscious currents, the brain generates behaviors in the moment based entirely on our past experiences. Engaging the reader with eye-opening experiments and visual examples, the author first demolishes our intuitive sense of how our mind works, then argues for a positive interpretation of the brain as a ceaseless and creative improviser.
Science journalist John Horgan presents a radical new perspective on the mind-body problem and related issues such as consciousness, free will, morality and the meaning of life. Horgan argues that science will never discover an objectively true solution to the mind-body problem because such a solution does not exist. Horgan explores his thesis by delving into the professional and personal lives of nine mind-body experts, including neuroscientist Christof Koch, cognitive scientist Douglas Hofstadter, child psychologist Alison Gopnik, complexologist Stuart Kauffman, legal scholar and psychoanalyst Elyn Saks, philosopher Owen Flanagan, novelist Rebecca Goldstein, evolutionary biologist Robert Trivers, and economist Deirdre McCloskey.