The Physiology of the Novel: Reading, Neural Science, and the Form of Victorian FictionOUP Oxford, 27. 9. 2007 - Počet stran: 288 How did the Victorians read novels? Nicholas Dames answers that deceptively simple question by revealing a now-forgotten range of nineteenth-century theories of the novel, a range based in a study of human physiology during the act of reading, He demonstrates the ways in which the Victorians thought they read, and uncovers surprising responses to the question of what might have transpired in the minds and bodies of readers of Victorian fiction. His detailed studies of novel critics who were also interested in neurological science, combined with readings of novels by Thackeray, Eliot, Meredith, and Gissing, propose a vision of the Victorian novel-reader as far from the quietly immersed being we now imagine - as instead a reader whose nervous system was addressed, attacked, and soothed by authors newly aware of the neural operations of their public. Rich in unexpected intersections, from the British response to Wagnerian opera to the birth of speed-reading in the late nineteenth century, The Physiology of the Novel challenges our assumptions about what novel-reading once did, and still does, to the individual reader, and provides new answers to the question of how novels influenced a culture's way of reading, responding, and feeling. |
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... kind of attention spans that accelerated reading could permit. Taken together, they offer a vision of Victorian fiction that, across the varied range of the Victorian physiology of the novel, was remarkably consistent, and can be ...
... kind of attention spans that accelerated reading could permit. Taken together, they offer a vision of Victorian fiction that, across the varied range of the Victorian physiology of the novel, was remarkably consistent, and can be ...
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... kind of subject their chosen object, the novel, was creating. 3. It was a processual, affective, reader-centered methodology whose notion of 'form' was thoroughly temporal. The word 'form' plays an important role in the chapters that ...
... kind of subject their chosen object, the novel, was creating. 3. It was a processual, affective, reader-centered methodology whose notion of 'form' was thoroughly temporal. The word 'form' plays an important role in the chapters that ...
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... kind of media theory, for which history, as Laurel Brake has recently noted, is often of little importance.26 Regardless, this theory arises out of a narrow and specifiable range of literary evidence: the popular British fiction of the ...
... kind of media theory, for which history, as Laurel Brake has recently noted, is often of little importance.26 Regardless, this theory arises out of a narrow and specifiable range of literary evidence: the popular British fiction of the ...
Strana 15
... kind of response given to novels, in surprising ways. In Chapter 2, we will see distracted or inattentive reading, a hallmark of conservative jeremiads about mass reading habits, marked out by theorists like Herbert Spencer as a ...
... kind of response given to novels, in surprising ways. In Chapter 2, we will see distracted or inattentive reading, a hallmark of conservative jeremiads about mass reading habits, marked out by theorists like Herbert Spencer as a ...
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... kind of comprehension to which contemporary readers can only vainly aspire. For many alarmist Victorian observers, the novel's greatest influence was its toxic effect upon readerly cognition. Thus Alfred Austin, in his 1874 assessment ...
... kind of comprehension to which contemporary readers can only vainly aspire. For many alarmist Victorian observers, the novel's greatest influence was its toxic effect upon readerly cognition. Thus Alfred Austin, in his 1874 assessment ...
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The Physiology of the Novel: Reading, Neural Science, and the Form of ... Nicholas Dames Náhled není k dispozici. - 2007 |
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absorption acceleration aesthetic Alexander Bain attempt attention audience Bain Bain’s become British Cambridge century chapter characters claim Clara cognitive consciousness consumption contemporary cultural Dallas Daniel Deronda distraction duration E. S. Dallas effect Egoist elongated Emotions Essays fact fiction formal fragmented G. H. Lewes genre George Eliot George Meredith Gissing Gissing’s Grub Street Gwendolen Huey I. A. Richards Ibid inattention insisted interest James James’s Javal kind Lee’s Lewes’s literary criticism literary form literary theory Literature London Lubbock melody mental Meredith mid-Victorian mind narrative narrator Newcomes nineteenth-century notion novel-reading organic particularly physiological novel theory plot political practice Psychology Q. D. Leavis R. H. Hutton reader readerly Reardon reception repetition response reverie Review Richard Richards’s sensation serial Sir Willoughby social speed speed-reading temporal form textual Thackeray Thackeray’s theorists three-volume units University Press Vanity Fair Victorian novel Wagner Wagnerian words writing