@book {kukkonen_4e_2019,
	title = {4E Cognition and Eighteenth-Century Fiction: How the Novel Found its Feet},
	year = {2019},
	note = {Google-Books-ID: Dx6DDwAAQBAJ},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {Oxford},
	abstract = {When the novel broke into cultural prominence in the eighteenth century, it became notorious for the gripping, immersive style of its narratives. In this book, Karin Kukkonen explores this phenomenon through the embodied style in Eliza Haywood{\textquoteright}s flamboyant amatory fiction, Charlotte Lennox{\textquoteright}s work as a cultural broker between Britain and France, Sarah Fielding{\textquoteright}s experimental novels, and Frances Burney{\textquoteright}s practice of life-writing and fiction-writing. Four female authors who are often written out of the history of the genre are here foregrounded in a critical account that emphasizes the importance of engaging readers{\textquoteright} minds and bodies, and which invites us to revisit our understanding of the rise of the modern novel. Kukkonen{\textquoteright}s innovative theoretical approach is based on the approach of 4E cognition, which views thinking as profoundly embodied and embedded in social and material contexts, extending into technologies and material devices (such as a pen), and enactive in the inherent links between perceiving the world and moving around in it. 4E Cognition and Eighteenth-Century Fiction investigates the eighteenth-century novel through each of these trajectories and shows how language explores its embodied dimension by increasing the descriptions of inner perception, or the bodily gestures around spoken dialogue. The embodied dimension is then related to the media ecologies of letter-writing, book learning, and theatricality. As the novel feeds off and into these social and material contexts, it comes into its own as a lifeworld technology that might not answer to standards of nineteenth-century realism but that feels {\textquoteright}real{\textquoteright} because it is integrated into the lifeworld and embodied experiences. 4E cognition answers one of the central challenges to cognitive literary studies: how to integrate historical and cultural contexts into cognitive approaches.},
	keywords = {Language Arts \& Disciplines / Alphabets \& Writing Systems, Literary Criticism / Modern / 18th Century, Literary Criticism / Renaissance, Psychology / Cognitive Psychology \& Cognition},
	isbn = {978-0-19-091306-9},
	author = {Kukkonen, Karin}
}
@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 {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}
}
