Comprised of more than 250 selections from Henry James's stories about writers, his critical and speculative essays, his Notebooks, Prefaces, and letters, this collection brings together for the first time, in a single, systematic volume, all the important passages in James's work which have implications for or ideas about his theory of fiction. The result is the most comprehensive, exhaustive, and innovative volume of fictional theory ever published; in many ways it is the consummation of James's contribution to letters. In a masterful introductory essay, James E. Miller Jr., presents James's theory of fiction in outline; he also contributes brief introductions to each of the seventeen chapters, summarizing the major points. Abundant guides direct the reader to subjects and sources.
This third edition of the bestselling Essentials of the Theory of Fiction provides a comprehensive view of the theory of fiction from the nineteenth century through modernism and postmodernism to the present.
Why We Read Fiction offers a lucid overview of the most exciting area of research in contemporary cognitive psychology known as "Theory of Mind" and discusses its implications for literary studies.
The recipient, the holder, the story. The bag of stars. This influential essay opens a portal to terra ignota: unknown lands where the possibilities of human experience and knowledge can be discovered anew.
In this innovative work, Ming Dong Gu examines Chinese literature and traditional Chinese criticism to construct a distinctly Chinese theory of fiction and places it within the context of international fiction theory.
"At once a horror fiction, a work of speculative theology, an atlas of demonology, a political samizdat and a philosophic grimoire, CYCLONOPEDIA is a theory-fiction on the Middle East as a living entity.
3George Santayana, quoted in John Henry Raleigh, Time, Place, and Idea: Essays on the Novel (Carbondale: Southern Illinois University Press, 1968), 43. 4James Joyce, A Portrait of the Artist as a Young Man, ed. Chester A. Anderson (New ...
"Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable...
Carl Freedman traces the fundamental and mostly unexamined relationships between the discourses of science fiction and critical theory, arguing that science fiction is (or ought to be) a privileged genre for critical theory.
This intense novel follows Tony Webster, a middle-aged man, as he contends with a past he never thought much about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present.
So these novels pass judgement—a novel judgement—on the extent to which the nineteenth century’s idea of law is collusive with that era’s Capital, thereby opening up the possibility of a new legal theoretical position: that of a ...