Toward a Cognitive Theory of Narrative Acts brings together in one volume cutting-edge research that turns to recent findings in cognitive and neurobiological sciences, psychology, linguistics, philosophy, and evolutionary biology, among other disciplines, to explore and understand more deeply various cultural phenomena, including art, music, literature, and film. The essays fulfilling this task for the general listener as well as the specialist are written by renowned authors H. Porter Abbott, Patrick Colm Hogan, Suzanne Keen, Herbert Lindenberger, Lisa Zunshine, Katja Mellman, Lalita Pandit Hogan, Klarina Priborkin, Javier Gutiérrez-Rexach, Ellen Spolsky, and Richard Walsh. Among the works analyzed are plays by Samuel Beckett, novels by Maxine Hong Kingston, music compositions by Igor Stravinsky, art by Jean-Baptiste-Simeon Chardin, and films by Michael Haneke.
Each of the essays shows in a systematic, clear, and precise way how music, art, literature, and film work in and of themselves and also how they are interconnected. Finally, while each of the essays is unique in style and methodological approach, together they show the way toward a unified knowledge of artistic creativity.
©2010 The University of Texas Press (P)2012 Redwood Audiobooks
“This exciting collection attests to the range and sophistication of current cognitive-evolutionary studies in narrative. Exploring the relation between narrative and topics including empathy, dream, torture and ethics, theory of mind, and emotional change, each essay demonstrates a thorough knowledge of the secondary discipline it brings to bear on narrative art." (Nancy Easterlin, University of New Orleans)
"Focused on the universal human capacity for narrative, Frederick Aldama's Toward a Cognitive Theory of Narrative Acts boldly stakes out a common space of knowledge at the intersection of the natural and social sciences and the humanities. The essays by leading cognitive critics provide important insights into the motivations and workings of narrative from Aristotle to contemporary film." (Mary Thomas Crane, Boston College)
More Narratology Please!
Lots of really excellent essays in this collection. I like Suzanne Keen's essay, that is the one I am listing to now. Lisa Zunshine and Patrick Colm Hogan have good chapters also. The whole book is good.
Well-read, clear and expressive.
I am a PhD student in English Literature. I specialize in cognitive narratology so I was really happy to see an audiobook on the subject. Looking at literature and narrative from the perspective of cognitive science is the next big wave. Lots of A-list universities are focusing more and more on this perspective -- Harvard has put out several dissertations lately that take a cognitive approach to literature. Much more to follow.
This is a challenging title and it would definitely help your comprehension if you already knew a little about narratology and cog-sci. I love it. I have listened to it once and I am listening to it a second time. I would very much like to encourage publishers to produce more of this kind of literature in audio format.
Those people aren't intelligent; they just make up the answers
The woman's inflections are not appropriate to the material -- she is trying to sell it -- the text but it's not oratory or narrative, it's discourse, and her interpretation is more appropriate to one of plato's dialogues. it's very hard to listen to, since logically many of the statements are either shallow or unproven in terms of their characterization of the hard sciences. she should be reading children's books.
this is not the best question. the purpose of the anthology of essays is to assert that the study of the english canon (and comic books) has relevance in the 21st century -- which is a big stretch. i was an english major and hold a masters in fine arts and a masters in computer science. so i feel competent to assess the assertions of the essays, but the reading by the woman obscures meaning for emotion ... i want wring her neck.
not if she is reading non-fiction. she would be good for jane austen.
this is not fiction. the addition of rating the story, if i were writing the software, would check to see if the text was narrative or not before generating these components of the window -- it's not hard to do. it just requires thinking about the context of its use. this probably sounded to someone like a real social network kind of question -- What if we removed Ophelia from Hamlet? etc. fine. but the person in charge of putting this up should have realized that this is all incorrectly tilted towards fiction when the whole point of software is to be able to dynamically specialize to the user's personal choices.
a university of texas publication is not mainstream academic but i'm interested to see what english doctorates are doing with their education -- so, this book addresses that. but without assigning a reader that can better pitch that, the book becomes almost unlistenable. i don't know how these author/reader pairings get done, but there should be some critical judgement shown. i suppose getting anyone to actually read this book was difficult given the obviously small audience. but as someone once said about one of my efforts, if you can't provide the full functionality, then it's probably better not to let it out at all: you can't give a warm-hearted emotional reading to academic essays -- particularly in a field that is suspect for producing shallow misapplications of hard science in the absence of measurable content. why should a university pay someone to assert that comic books represent human knowledge. And then to sing-song that with a womanly warmth and secret smile -- give me a break. this is exactly why i left the humanities:
This is a collection of essays on cognitive science intersecting with the arts and literature. The narrator or reader must have been told this was a romance novel because she speaks about brain synapses and firing neurons in such a way that I envision some dainty maids bust bursting from her bodice while Fabio steals her away behind a barn.
However, oddly, the recording sounded like a robot with pitches jumping and falling between words as though the words or sounds had been strung together after a pre-recording of individual monemes.
Frankly, I couldn't follow the papers and had to give up entirely on this book.
I'm sure the reader does a fine job with literature but this ain't literature.
I am very used to listening to people who write these sorts of articles, chapters, or papers read their work aloud. It is normal practice to read and listen to such things. I don't have problems when I'm at conferences but could not understand a lot of what was being said here.
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