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Psychomotor Aesthetics
"In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological experiences. Scientific modes of recording, representing, and interpreting body movement as "expressive" soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls "psychomotor aesthetics," this book uncovers little-known sources of Russian Futurism, Formalist poetics, avant-garde film theories of Le...
Theorizing Narrativity
Theorizing Narrativity is a collective work by an international array of leading specialists in narrative theory. It provides new perspectives on the nature of narrative, genre theory, narrative semiotics and communication theory. Most contributions center on the specificity of literary fiction, but each chapter investigates a different dimension of narrativity with many issues dealt with in innovative ways (including oral storytelling, the law, video games, causality, intertextuality and the theory of reading). There are chapters by Gerald Prince on narrativehood and narrativity, Meir Sternberg on the narrativity of the law-code, Werner Wolf on chance and Peter Hühn on eventfulness in fiction, Jukka Tyrkkö on kaleidoscope narratives, Marie-Laure Ryan on transfictionality and computer games, Ansgar Nünning and Roy Sommer as well as Monika Fludernik on the narrativity of drama, Beatriz Penas on (non)standard narrativities, David Rudrum on narrativity and performativity, Michael Toolan on textual guidance, John Pier on causality and retrospection, and José Ángel García Landa on retelling and represented narrations.
Learning to Perform
In Learning to Perform. Carol Simpson Stern and Bruce Henderson introduce the art and craft of performing literary texts, including poetry, prose fiction, and drama, as well as personal narratives and ethnographic materials. They present a performance methodology that offers instruction in close reading and analysis, the development and refinement of performance skills, and the ability to think critically about and discuss a performance. As students become reacquainted with the world of the imagination and its possibilities, the insights they gain in the classroom can become the basis for achievement not only on the stage or in front of the camera but in many facets of public life. By addressing an expanded sense of text that includes cultural as well as literary artifacts, Stern and Henderson bridge the gap between oral interpretation and the more inclusive field of performance studies. A substantial appendix provides a dozen texts for performance in the classroom, including works by Jane Hamilton, Willa Cather, Henry James, E.M. Forster, Henrik Ibsen, Jane Austen, and Michael S. Bowman. --Book Jacket.
The Life of the Mind in Old English Poetry
Ideas about the human mind are culturally specific and over time vary in form and prominence. The Life of the Mind in Old English Poetry presents the first extensive exploration of Anglo-Saxon beliefs about the mind and how these views informed Old English poetry. It identifies in this poetry a particular cultural focus on the mental world and formulates a multivalent model of the mind behind it, as the seat of emotions, the site of temptation, the container of knowledge, and a heroic weapon. The Life of the Mind in Old English Poetry treats a wide range of Old English literary genres (in the context of their Latin sources and analogues where applicable) in order to discover how ideas about the mind shape the narrative, didactic, and linguistic design of poetic discourse. Particular attention is paid to the rich and slippery vernacular vocabulary for the mind which suggests a special interest in the subject in Old English poetry. The book argues that Anglo-Saxon poets were acutely conscious of mental functions and perceived the psychological basis not only of the cognitive world, but also of the emotions and of the spiritual life.
The Cultural Politics of Slam Poetry
How do slam poets and their audiences reflect the politics of difference?
Flannery O'Connor
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