دانلود کتاب Literary Fiction: The Ways We Read Narrative Literature

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Title Page\nCopyright Page\nContents\nChapter 1 Introduction\nChapter 2 What is Literary Fiction?\n Attempts to define literary fiction\n Intratextual criteria\n Extratextual criteria\n The embedding of real elements in fiction\n A reader-oriented definition of literary fiction\n Fiction with reservations\n How to distinguish between fact and fiction?\n Is the author of documentary fiction obliged to cite his sources?\n The embedding of external facts: Conclusion\n The embedding of fictitious elements in non-fiction\n Narrative and fiction\nChapter 3 The Fictional Communication Process\n The question of genre\n The levels of the communication process\n Early theories of levels\n Narratological theories of levels\n The material text\n The mental model of the action\n The relationship between the mental model and the action\n The cognitive content\n What kind of content does literary fiction convey?\n Identification\n Popular literature\n The cognitive content: Terminological alternatives\n The truth of the message\n The incompleteness of the mental model\n The transparency of the model\n The two aspects of the model\n Why the term mental model?\n One drawback of the terms signifier, signified and referent\n Drama\n Literary fiction as a speech mode\n Possible worlds\n What comes first, text or action?\nChapter 4 The Cognitive and the Aesthetic Dimension\n Definition of the aesthetic\n The aesthetic dimension in art\n Does fiction have an aesthetic dimension?\n Does the text have an aesthetic function?\n Does the action have an aesthetic function?\n Does the mental model have an aesthetic function?\n Does the cognitive content have an aesthetic function?\n Does the interplay between the levels have an aesthetic function?\n Must fiction have an aesthetic dimension in order to be art?\n The cognitive function and consciousness\n Evidence of the cognitive function\nChapter 5 The Delimitation of the Literary Work\n The text and the mental model of the action\n The message\n Drama and lyric poetry\n Ambiguous texts\n Reading in another order and repeated readings\n The simultaneity of the levels\n Other theories\nChapter 6 Intention and Message\n The message as perceived by the receiver\n Different forms of communication\n The many faces of the author\n The message as perceived by the sender\n Does the work always reflect the author’s own views?\n The relationship between the latent and the received message\n To what extent is information about the author’s intention available?\n The expectations of the reader\n The author’s responsibility for the received message\n Conclusion\n Interpretative strategies\nChapter 7 Problems Related to the Sender\n The narrator and the narrative act\n Käte Hamburger’s theory\n The nature of the narrator\n The role of the receiver\n Attachment\nChapter 8 The Structure of the Action\n The mental model and the action\n What is the action?\n The action as part of a larger fictional world\n Problems with the definition of story\n The author’s influence on the action\n The complexity of the action\n The relationship between events and characters\n Description of characters\n Action-orientation and character-orientation as forms of selection\n Attempts at simplification\n The smallest meaningful elements of the action\n How are these basic elements related to Propp’s and Greimas’s models?\n The characters’ mode of existence\n Flat and round characters\n The action as a vehicle for the message\n Setting\nChapter 9 Selection\n Theories about duration\n Selection\n Time and its content\n Quantitative selection\n Scene, summary, ellipsis, pause and stretch\n The problem pause\nChapter 10 Voice\n Temporal relations\n Identity and level\n Terminological problems\n The significance of the author’s choice of grammatical person\n The report of speech and thoughts\n Interference of the narrator\n Comments of the narrator\n Humour as a manifestation of voice\n Irony\n Other kinds of indirect communication\nChapter 11 Viewpoint, Focalization\n Viewpoint or focalization?\n Viewpoint in non-fiction, film and drama\n Viewpoint in the novel and short story\n Omniscience and perception\n Position: Internal and external viewpoint\n Depth\n Breadth\n Stability\n Rewriting in the first person\n The point of view in the first-person novel\n The narrator’s viewpoint: Double focalization?\n Is there always a viewpoint (or focalization)?\n Ambiguous viewpoint\n Viewpoint and voice\n Zero focalization?\n Internal viewpoint and subjectivity\n Viewpoint and identification\n Conclusion\nChapter 12 Frequency\nChapter 13 Order\nChapter 14 Suspense\n What is suspense?\n Various forms of suspense\n Suspense in Effi Briest\n Artificial suspense\nChapter 15 The Functions of Literary Fiction\n Didactic literature and simplification\n Result- and process-orientation\n Non-cognitive functions\nChapter 16 Evaluation\n To what extent is evaluation inevitable?\n How subjective is evaluation?\n Which aspects of the work are subject to evaluation?\n Evaluation criteria\n Evaluation criteria for the cognitive content\n Truth\n Importance\n Relevance\n Novelty and difference\n Entertaining effect\n Evaluation criteria for form alone and form and content as a whole\n Wholeness\n Complexity and simplicity\n Openness\n Criteria related to phatic function\n Professional competence\n Criteria linked to time\n Criteria linked to language\n Extratextual factors\n Who is entitled to evaluate?\n Conclusion\nChapter 17 Conclusion\nBibliography\nAuthor Index\nSubject Index