@book {rundquist_free_2017,
	title = {Free Indirect Style in Modernism: Representations of consciousness},
	year = {2017},
	publisher = {John Benjamins Publishing Company},
	organization = {John Benjamins Publishing Company},
	address = {Amsterdam},
	abstract = {Free Indirect Style (FIS) is a linguistic technique that defies the logic of human subjectivity by enabling readers to directly observe the subjective experiences of third-person characters. This book consolidates the existing literary-linguistic scholarship on FIS into a theory that is based around one of its most important effects: consciousness representation. Modernist narratives exhibit intensified formal experimentation and a heightened concern with characters{\textquoteright} conscious experience, and this provides an ideal context for exploring FIS and its implications for character consciousness. This book focuses on three novels that are central to the Modernist canon: Virginia Woolf{\textquoteright}s To the Lighthouse, D.H. Lawrence{\textquoteright}s The Rainbow and James Joyce{\textquoteright}s Ulysses. It applies the revised theory of FIS in close semantic analyses of the language in these narratives and combines stylistics with literary criticism, linking interpretations with linguistic features in distinct manifestations of the style.},
	keywords = {Literary Criticism / General, Literary Criticism / Subjects \& Themes / General},
	isbn = {978-90-272-6453-4},
	author = {Rundquist, Eric}
}
@book {garratt_cognitive_2016,
	title = {The Cognitive Humanities: Embodied Mind in Literature and Culture},
	year = {2016},
	note = {00000 Google-Books-ID: QcKWDQAAQBAJ},
	publisher = {Palgrave MacMillan},
	organization = {Palgrave MacMillan},
	address = {London},
	abstract = {This book identifies the {\textquoteleft}cognitive humanities{\textquoteright} with new approaches to literature and culture that engage with recent theories of the embodied mind in cognitive science. If cognition should be approached less as a matter of internal representation{\textemdash}a Cartesian inner theatre{\textemdash}than as a form of embodied action, how might cultural representation be rethought? What can literature and culture reveal or challenge about embodied minds? The essays in this book ask what new directions in the humanities open up when the thinking self is understood as a participant in contexts of action, even as extended beyond the skin. Building on cognitive literary studies, but engaging much more extensively with {\textquoteleft}4E{\textquoteright} cognitive science (embodied, embedded, enactive, extended) than previously, the book uses case studies from many different historical settings (such as early modern theatre and digital technologies) and in different media (narrative, art, performance) to explore the embodied mind through culture.},
	keywords = {Language Arts \& Disciplines / Library \& Information Science / General, Language Arts \& Disciplines / Linguistics / Historical \& Comparative, Literary Criticism / Comparative Literature, Literary Criticism / General, Literary Criticism / Semiotics \& Theory, Psychology / Cognitive Psychology \& Cognition},
	isbn = {978-1-137-59329-0},
	author = {Garratt, Peter}
}
@book {huhn_facing_2016,
	title = {Facing Loss and Death: Narrative and Eventfulness in Lyric Poetry},
	year = {2016},
	note = {Google-Books-ID: j3vqDAAAQBAJ},
	month = {aug},
	publisher = {Walter de Gruyter GmbH \& Co KG},
	organization = {Walter de Gruyter GmbH \& Co KG},
	abstract = {This study proposes the application of the methodology of narratology to the analysis of lyric poetry, specifically focusing on the progression and eventful turns in poems. The fruitfulness of this approach is demonstrated by the analyses of English poems from different periods addressing the traumatic experience of loss (death of a beloved person, one{\textquoteright}s own imminent death, loss of a stabilizing order) and employing various coping strategies.},
	keywords = {Language Arts \& Disciplines / General, Literary Criticism / General},
	isbn = {978-3-11-048498-4},
	author = {H{\"u}hn, Peter}
}
@book {pettersson_how_2016,
	title = {How Literary Worlds Are Shaped: A Comparative Poetics of Literary Imagination},
	year = {2016},
	note = {Google-Books-ID: 8OUXDQAAQBAJ},
	publisher = {Walter de Gruyter},
	organization = {Walter de Gruyter},
	address = {Berlin},
	abstract = {How Literary Worlds Are Shaped studies a wide variety of literature across cultures and ages. The main aim is to show that literature all over the world has for millennia employed an array of related themes and techniques. By its broad scope and detailed analysis, this volume offers the first extensive comparative account of the makings of literary worlds.},
	keywords = {Language Arts \& Disciplines / General, Literary Criticism / General},
	isbn = {978-3-11-048631-5},
	author = {Pettersson, Bo}
}
@book {ryan_narrating_2016,
	title = {Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet},
	year = {2016},
	note = {Google-Books-ID: B9iTjgEACAAJ},
	publisher = {Ohio State University Press},
	organization = {Ohio State University Press},
	address = {Columbus},
	abstract = {Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet by Marie-Laure Ryan, Kenneth Foote, and Maoz Azaryahu offers a groundbreaking approach to understanding how space works in narrative and narrative theory and how narratives work in real space. Thus far, space has traditionally been viewed by narratologists as a backdrop to plot. This study argues that space serves important but under-explored narrative roles: It can be a focus of attention, a bearer of symbolic meaning, an object of emotional investment, a means of strategic planning, a principle of organization, and a supporting medium. Space intersects with narrative in two principal ways: {\textquoteright}{\textquoteright}Narrating space{\textquoteright}{\textquoteright} considers space as an object of representation, while {\textquoteright}{\textquoteright}spatializing narrative{\textquoteright}{\textquoteright} approaches space as the environment in which narrative is physically deployed. The inscription of narrative in real space is illustrated by such forms as technology-supported locative narratives, street names, and historical/heritage site and museum displays. While narratologists are best equipped to deal with the narration of space, geographers can make significant contributions to narratology by drawing attention to the spatialization of narrative. By bringing these two approaches together{\textendash}and thereby building a bridge between narratology and geography{\textendash}Narrating Space / Spatializing Narrative yields both a deepened understanding of human spatial experience and greater insight into narrative theory and poetic forms.},
	keywords = {Language Arts \& Disciplines / Rhetoric, Literary Criticism / General, Social Science / Human Geography},
	isbn = {978-0-8142-1299-8},
	author = {Ryan, Marie-Laure and Foote, Kenneth and Azaryahu, Maoz}
}
@book {huber_present_2016,
	title = {Present Tense Narration in Contemporary Fiction: A Narratological Overview},
	year = {2016},
	note = {Google-Books-ID: Rz8sDQAAQBAJ},
	publisher = {Springer},
	organization = {Springer},
	abstract = {Present Tense Narration in Contemporary Fiction seeks to account for the growing prevalence and frequency of present tense narration in modern literature. In order to better understand the conditions and effects of the technique, the book situates its discussion in a historical context and examines a variety of present-tense usage in works by prominent contemporary authors, including John Burnside, Will Self and Hilary Mantel.},
	keywords = {Fiction / General, Language Arts \& Disciplines / Linguistics / Historical \& Comparative, Literary Criticism / General, Literary Criticism / Modern / General, Literary Criticism / Semiotics \& Theory},
	isbn = {978-1-137-56213-5},
	author = {Huber, Irmtraud}
}
@book {stewart_closed_2015,
	title = {Closed Circuits: Screening Narrative Surveillance},
	year = {2015},
	note = {Google-Books-ID: vBsjBgAAQBAJ},
	publisher = {University of Chicago Press},
	organization = {University of Chicago Press},
	address = {Chicago},
	abstract = {The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power{\textemdash}and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to D{\'e}j{\`a} Vu, Source Code, and The Bourne Legacy, in which cinema has articulated{\textemdash}and performed{\textemdash}the drama of inspection{\textquoteright}s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage{\textemdash}with editing designed to draw us in and make us forget the omnipresence of the narrative camera{\textemdash}extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced {\textquotedblleft}surveillancinema.{\textquotedblright}},
	keywords = {Art / Film \& Video, Literary Criticism / General, Performing Arts / Film \& Video / History \& Criticism, Performing Arts / General},
	isbn = {978-0-226-20135-1},
	author = {Stewart, Garrett}
}
@book {sanford_mind_2012,
	title = {Mind, Brain and Narrative},
	year = {2012},
	note = {Google-Books-ID: iAYhAwAAQBAJ},
	publisher = {Cambridge University Press},
	organization = {Cambridge University Press},
	abstract = {Narratives enable readers to vividly experience fictional and non-fictional contexts. Writers use a variety of language features to control these experiences: they direct readers in how to construct contexts, how to draw inferences and how to identify the key parts of a story. Writers can skilfully convey physical sensations, prompt emotional states, effect moral responses and even alter the readers{\textquoteright} attitudes. Mind, Brain and Narrative examines the psychological and neuroscientific evidence for the mechanisms which underlie narrative comprehension. The authors explore the scientific developments which demonstrate the importance of attention, counterfactuals, depth of processing, perspective and embodiment in these processes. In so doing, this timely, interdisciplinary work provides an integrated account of the research which links psychological mechanisms of language comprehension to humanities work on narrative and style.},
	keywords = {Language Arts \& Disciplines / Linguistics / General, Language Arts \& Disciplines / Linguistics / Psycholinguistics, Literary Criticism / General, Psychology / Cognitive Psychology \& Cognition},
	isbn = {978-1-139-85159-6},
	author = {Sanford, Anthony J. and Emmott, Catherine}
}
@inbook {lehtimaki_navigatingmaking_2012,
	title = {Navigating{\textendash}Making Sense{\textendash}Interpreting (The Reader behind La Jalousie)},
	booktitle = {Narrative, Interrupted: The Plotless, the Disturbing and the Trivial in Literature},
	year = {2012},
	note = {Google-Books-ID: NKXualYUt3IC},
	publisher = {Walter de Gruyter},
	organization = {Walter de Gruyter},
	address = {Berlin},
	abstract = {<p>Recent postclassical narratology has constructed top-down reading models that often remain blind to the frame-breaking potential of individual literary narratives. Narrative, Interrupted goes beyond the macro framing typical of postclassical narratology and sets out to sketch approaches more sensitive to generic specificities, disturbing details and authorial interference. Unlike the mainstream cognitive approaches or even the emergent unnatural narratology, the articles collected here explore the artifice involved in presenting something ordinary and realistic in literature. The first section of the book deals with anti-dynamic elements such as dialogue, details, private events and literary boredom. The second section, devoted to extensions of cognitive narratology, addresses spatiotemporal oddities and the possibility of non-human narratives. The third section focuses on frame-breaking, fragmentarity and problems of authorship in the works of Vladimir Nabokov. The book presents readings of texts ranging from the novels of Don DeLillo and Thomas Pynchon to the Animal Man comics. The common denominator for the texts discussed is the interruption of the chain of events or of the experiential flow of human-like narrative agents.</p>},
	keywords = {Irish, Language Arts \& Disciplines / Linguistics / Historical \& Comparative, Literary Criticism / European / Eastern, Literary Criticism / European / English, Literary Criticism / European / General, Literary Criticism / General, Literary Criticism / Semiotics \& Theory, Scottish, Welsh},
	isbn = {978-3-11-025997-1},
	author = {M{\"a}kel{\"a}, Maria},
	editor = {Lehtim{\"a}ki, Markku and Karttunen, Laura and M{\"a}kel{\"a}, Maria}
}
