Experiencing Fictional Worlds

Description

Experiencing Fictional Worlds Editorial page Title page Copyright page Table of contents List of contributors Preface Acknowledgments 1. Introduction 1.1 From possible worlds to fictional worlds 1.2 Text World Theory 1.2.1 An introduction 1.2.2 The structure of Text World Theory 1.2.3 Text World Theory and experientiality 1.4 Book overview References Part 1. Foundations of fictional worlds 2. Immersion and emergence in children’s literature 2.1 Immersion and its correlates 2.2 The developmental literacy of immersion 2.3 Mind-casting and emergence 2.4 Immersion, emergence, emotion, resonance References 3. A predictive coding approach to Text World Theory 3.1 Introduction 3.2 Predictive Coding 3.3 Predictive Coding, texts and text-worlds 3.4 A text-world analysis 3.5 A Predictive Coding analysis 3.6 Conclusion References 4. World-building as cognitive feedback loop 4.1 Introduction 4.2 Knowledge in Text World Theory 4.3 World-building as cognitive feedback loop 4.4 ‘The Glace Bay Miners’ Museum’ 4.5 Conclusion References Part 2. Forming fictional worlds 5. Experiencing horrible worlds 5.1 Introduction 5.2 Building and experiencing horrible worlds 5.3 Stephen King’s ‘IT’ 5.3.1 Category jamming in ‘IT’ 5.3.2 Conceptual movement in ‘IT’ 5.4 Manipulation in the text-worlds of horror 5.4.1 Foreshadowing 5.4.2 World-building manipulation 5.5 Conclusion References 6. Framing the narrative 6.1 Commencing at the frame 6.1.1 Cognitive frames and textual framings 6.1.2 The “fictive publisher” frame 6.2 Chamisso’s ‘Peter Schlemihl’ and the dynamics between “storyworld”, “fictive publisher” frame and extratextual reference space 6.2.1 Creating the distance between intra- and extratextual world(s) 6.2.2 Building the bridge and a stepping stone to re-engage the reader 6.3 Conclusion References 7. Constructing inferiority through comic characterisation 7.1 Introduction 7.2 Characterisation in literature and comedy 7.3 Constructing superiority: Cueing identification with the comic protagonist 7.4 Constructing inferiority: Positioning the protagonist as a target of humour 7.4.1 Self-deprecating humour and character likeability 7.4.2 Embarrassment, empathy and cringe comedy 7.5 Conclusion References 8. Cognitive grammar and reconstrual 8.1 Introduction 8.2 Cognitive Grammar as stylistic tool 8.2.1 Focusing and specificity 8.2.2 Prominence and reference point chains 8.2.3 Subjective and objective construal 8.3 Margaret Atwood’s “The Freeze-Dried Groom” 8.4 Analysis 8.4.1 Atmosphere and tone 8.4.2 Cohesion and coherence 8.5 The importance of re-reading References Part 3. Fictional worlds in context 9. Immersive reading and the unnatural text-worlds of “Dead Fish” 9.1 Introduction 9.2 Unnatural text-worlds and “Dead Fish” 9.2.1 Conceptualising first-person plural referents 9.3 Reading unnatural minds 9.4 An ambiguous and indifferent end 9.5 Comparing emotional reading experiences of “Dead Fish” 9.6 Conclusions References 10. Experiencing literature in the poetry classroom 10.1 Introduction 10.2 Studying literature in schools 10.3 Experiencing “Cold Knap Lake” 10.3.1 Experience as pre-figured response 10.3.2 Experience as collaborative response 10.3.3 Experience as divergent resourcing 10.4 Conclusion Note References 11. Sharing fiction 11.1 Introduction 11.1.1 Pre-school reading practices 11.1.2 An empirical approach 11.2 Sharing fiction: The storytime discourse-world 11.2.1 Real readers: William, Rosie and Matthew 11.2.2 Interactive interpretation: Guiding talk and text-worlds 11.2.3 An example: Understanding crying monsters 11.3 Pictures: Direct perception and access to text-worlds 11.4 Conclusion: A shared, interactive negotiation References 12. Afterword References Subject index