Emotion, empathy, and self-narration in British novels since the 1990s:
Gespeichert in:
1. Verfasser: | |
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Format: | Abschlussarbeit Buch |
Sprache: | English |
Veröffentlicht: |
Trier
WVT Wissenschaftlicher Verlag Trier
2016
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Schriftenreihe: | ELCH
Band 69 |
Schlagworte: | |
Online-Zugang: | Inhaltsverzeichnis |
Beschreibung: | Literaturverzeichnis Seite [247]-279 |
Beschreibung: | 279 Seiten |
ISBN: | 9783868216776 3868216774 |
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adam_text | Titel: Emotion, empathy, and self-narration in British novels since the 1990s
Autor: Frink, Stephanie
Jahr: 2016
Stephani^Fr Frink Emotion, Empathy, and Self-Narration in British Novels since the 1990s Wm Wissenschaftlicher Verlag Trier
Contents Part I: Conceptualizing the Nexus between Narrative and Emotion 1. Introduction: Where Stories and Emotions Meet..................................................1 1.1 The Emotional Turn in Literary Studies..........................................................3 1.2 Subject Matter and Objectives: The Affective Potential of Stories..................8 1.3 State of Research: Current Trends in Affective Narratology.........................13 1.4 Method, Text Corpus, and Outline of Chapters.............................................18 2. Narrative as an Affective Instrument: Establishing a Theoretical Framework for the Analysis of Emotions in Relation to Stories and Storytelling.................23 2.1 ‘This Thing Called Emotion’: Paving the Way for a Narrative Approach to Emotions and Empathy.............................................................................23 2.1.1 Features of Emotion: What Emotions Are and Why They Matter..........24 2.1.2 ‘Feeling With’: Empathy in Contemporary Psychology and Neuroscience...........................................................................................29 2.1.3 Emotion Schemes, Scripts, and Plots......................................................34 2.2 The Narrative Structure or Narrativity of Emotions......................................39 2.2.1 Storying Emotions: Reconceptualizing Emotion from a Narratological Perspective......................................................................41 2.2.2 Identity Formation as a Symphony of Memory, Emotion, and Narration..........................................................................................49 2.2.3 Narration as Emotional Performance and Interaction.............................57 2.2.4 Empathically Understanding Others through Narration, or Narrative as a Route to Empathy........................................................60 2.3 The Emotionality of Narratives: Forms and
Functions of Affective Storytelling..................................................................................................64 2.3.1 Emotions as Basic Story Constituents....................................................65 2.3.2 Towards a Typology of Literary Emotion Portrayals: Ways of Representing and Analyzing Affective Dynamics in Fictional Self-Narratives........................................................................................69 2.3.3 A Brief Look beyond Fictional Feelings: Readers’ Emotions as a Key to Story Comprehension...........................................................83
Part II: Representing and Evoking Emotions in Fiction - An Affective-Narratological Reading of British First-Person Novels at the Turn of the 21 st Century 3. Self-Narrators between the Immersion in and Suppression of Feelings: F.n anting Emotions in the Dialogue between Past and Present Selves................91 3.1 Remembering as an Affective Practice: Emotionalized Space and Spatialized Emotions in Guy Burt’s The Dandelion Clock (1999)................ 93 3.1.1 At the Intersection of Emotion, Memory, and Space..............................94 3.1.2 A Place for Feeling: Embodying Emotions in and through Space........102 3.1.3 Ambiguous Feelings, Shared Story Space, and Empathie Narration.... 105 3.1.4 The Embodiment of Emotions - Affective Spaces and a Restored Past........................................................................................................109 3.2 The Complex Interaction between Past and Present (Emotions) in John Banville’s The Sea (2005): Feelings as Stabilizers of and Threats to Memory.................................................................................................112 3.2.1 A Conglomerate of Feelings: Narrating Tides of Grief and Crisis.......113 3.2.2 The Representation of Time and Focalization as Means of Performing Feelings in Narrative..........................................................116 3.2.3 “You’re not the only one who is suffering”: Narrative Solipsism and the Failure of Empathy..........................................................................124 3.2.4 The Performativity of Emotions - Enacted Feelings and the Limits of Narrative as an Affective Tool..............................................................129 3.3 Comparative Conclusion: Relived Emotions and Readers’ Empathie Simulation of Feelings...............................................................................132 4. The Troubled Relationship between Reason and
Feeling: Negotiating Approaches to Emotions...................................................................................137 4.1 Challenging the Rationalization of Feelings in Ian McEwan’s Enduring Love (1997): “The rationalist cracks at last!”’................................139 4.1.1 Untold Emotions: The Difficulty of “hammering the unspeakable into forms of words”............................................................................ 140 4.1.2 A Reliable Assessment of Emotions? Oscillating between Logical Argument and Emotional Involvement.................................................147 4.1.3 Different Ways ofFeeling and Problems in Empathie Understanding... 152 4.1.4 The Constructivity of Emotions and the Dialectical Synthesis of Feeling and Cognition...........................................................................160
4.2 Disciplinary and Gendered Perspectives on Emotion in David Lodge’s Thinks... (2001): Rational Men and Emotional Women..............................163 4.2.1 Performing Gender, Enacting Feelings: The Male Cognitive Scientist versus the Female Novelist...................................................................165 4.2.2 (Seemingly) Opposing Views on and Strategies for Narrating Emotions...............................................................................................172 4.2.3 The Theorization of an Elusive Concept - Emotion “is a puzzler”..... 180 4.3 Comparative Conclusion: Represented Feelings and Readers’ Knowledge about the Interplay between Reason and Emotion.......................................183 5. Feelings, Selves, and Narratives in Interaction: Disentangling Interpersonal Emotion Dynamics in Multi-Narrator Novels...................................................186 5.1 Affiliative Emotions: Establishing a Community of Feeling in Nick Hornby’s A Long Way Down (2005).................................................. 189 5.1.1 Emotional Crises and Their Narratives.................................................191 5.1.2 Empathy and Ingroup Dynamics: Achieving ‘Moments of Shared Understanding’ through Storytelling....................................................200 5.1.3 The Relationality of Emotions - Common Experience and Its Unifying Power.....................................................................................207 5.2 Conflicting Emotions: Shifting Emotional Relationships within the Love Triangle of Julian Barnes’s Talking It Over (1991) and Love, etc (2000) ....210 5.2.1 “Put yourself in my pcmtoufles ”: Narrative as an Interactional Activity and Emotional Practice...........................................................212 5.2.2 Feeling Conflicts and Problematic Love: Managing Emotions............220 5.2.3 The Fragility of Emotions -
Connection and Separation through Feelings.................................................................................................231 5.3 Comparative Conclusion: Relating (through) Emotions and Readers’ Empathic Perspective-Taking.....................................................................234 6. Conclusion and Directions for Future Emotion-Focused Research..................239 7. References.........................................................................................................247 7.1 Primary Literature......................................................................................247 7.2 Secondary Literature..................................................................................247
|
any_adam_object | 1 |
author | Frink, Stephanie |
author_GND | (DE-588)1121214657 |
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discipline | Anglistik / Amerikanistik |
era | Geschichte 1991-2005 gnd |
era_facet | Geschichte 1991-2005 |
format | Thesis Book |
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spelling | Frink, Stephanie Verfasser (DE-588)1121214657 aut Emotion, empathy, and self-narration in British novels since the 1990s Stephanie Frink Trier WVT Wissenschaftlicher Verlag Trier 2016 279 Seiten txt rdacontent n rdamedia nc rdacarrier ELCH Band 69 Literaturverzeichnis Seite [247]-279 Dissertation Ruprecht-Karls-Universität Heidelberg 2016 Geschichte 1991-2005 gnd rswk-swf Ich-Form (DE-588)4072707-5 gnd rswk-swf Roman (DE-588)4050479-7 gnd rswk-swf Englisch (DE-588)4014777-0 gnd rswk-swf Gefühl Motiv (DE-588)4207378-9 gnd rswk-swf Fachhochschul-/Hochschulausbildung British novels, 21st century emotion empathy narrative theory self-narration (DE-588)4113937-9 Hochschulschrift gnd-content Englisch (DE-588)4014777-0 s Roman (DE-588)4050479-7 s Gefühl Motiv (DE-588)4207378-9 s Ich-Form (DE-588)4072707-5 s Geschichte 1991-2005 z DE-604 Dr. Erwin Otto u. WVT Wissenschaftl. Vlg Trier (DE-588)1065707533 pbl ELCH Band 69 (DE-604)BV013959706 69 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029318395&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
spellingShingle | Frink, Stephanie Emotion, empathy, and self-narration in British novels since the 1990s ELCH Ich-Form (DE-588)4072707-5 gnd Roman (DE-588)4050479-7 gnd Englisch (DE-588)4014777-0 gnd Gefühl Motiv (DE-588)4207378-9 gnd |
subject_GND | (DE-588)4072707-5 (DE-588)4050479-7 (DE-588)4014777-0 (DE-588)4207378-9 (DE-588)4113937-9 |
title | Emotion, empathy, and self-narration in British novels since the 1990s |
title_auth | Emotion, empathy, and self-narration in British novels since the 1990s |
title_exact_search | Emotion, empathy, and self-narration in British novels since the 1990s |
title_full | Emotion, empathy, and self-narration in British novels since the 1990s Stephanie Frink |
title_fullStr | Emotion, empathy, and self-narration in British novels since the 1990s Stephanie Frink |
title_full_unstemmed | Emotion, empathy, and self-narration in British novels since the 1990s Stephanie Frink |
title_short | Emotion, empathy, and self-narration in British novels since the 1990s |
title_sort | emotion empathy and self narration in british novels since the 1990s |
topic | Ich-Form (DE-588)4072707-5 gnd Roman (DE-588)4050479-7 gnd Englisch (DE-588)4014777-0 gnd Gefühl Motiv (DE-588)4207378-9 gnd |
topic_facet | Ich-Form Roman Englisch Gefühl Motiv Hochschulschrift |
url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029318395&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
volume_link | (DE-604)BV013959706 |
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