Zaujímajúc perspektívu teoretikov ako Keith Oatley, Norman Holland, či Patrick Colm Hogan, táto práca usiluje otvoriť bohatý literárny svet britského autora komiksov, scenárov, poviedok a románov pre deti aj dospelých, Neila Gaimana, literárnemu kognitivizmu.
Výber mojej metódy je určený kritikou teoretických postupov vychádzajúcich zo sémantického externalizmu, sémiotiky a štrukturalizmu Ferdinanda de Saussure. V svojej práci formulujem potrebu prechodu na empirické metódy literárneho bádania ukotvené v súčasnej lingvistike, psychológii a kognitívnych vedách.
Kľúčovým teoretickým rámcom tejto práce sú práve kognitívne teórie Normana Hollanda, teoretika čitateľskej recepcie, ktorého základnú premisu predstavuje systém spätnej väzby, v ktorom čitateľ aplikuje "hypotézy" voči literárnemu objektu. Tieto zahŕňajú základné fyziologické interakcie, kultúrne kódy a kritériá, až celkovú zastrešujúcu identitu čitateľa, ktorá formuje čitateľský zážitok a sama je formovaná ním.
Hollandovu neuropsychoanalytickú metódu aplikujem v praktickej štúdii čitateľskej odozvy k poviedke Neila Gaimana. Poukazujem v nej na závislosť úspechu literárnej transakcie od schopnosti akomodácie obsahu projektovaného čitateľom, miery zapojenia jeho psychologických obrán a úspechu pokiaľ ide o porozumenie dvojznačnej fantastickej zápletke.
Takisto načrtávam možnú cestu pre výskum literárnych univerzálií, ktoré chápem ako neoddeliteľne späté s našou biologickou podstatou. Aplikujem teóriu Hoganových naratívnych prototypov, založených na základných emóciách radosti a smútku, na Gaimanov román Nikdykde.
V druhej praktickej štúdii čitateľskej odozvy overujem Oatleyho teóriu emócií ako spätnej väzby k čitateľovým evaluáciám fiktívnych výziev. Popisujem, ako kognitívne univerzálie radosti a smútku pôsobia v mysliach čitateľov ďalšej z Gaimanových poviedok.
Cieľom práce je popísať interakcie čitateľských identít s literárnym priestorom Gaimanových príbehov a iniciovať snaženie o formuláciu univerzálneho modelu (modelov), ktorý by mohol zachytiť fundamentálne odlišnosti aj podobnosti v čitateľských prístupoch. Z tohto modelu (modelov) by neskôr mohli benefitovať budúce bádateľské pokusy v oblasti kognitívnej literárnej vedy.
Anotace v angličtině
Drawing on the perspectives of Keith Oatley, Norman Holland, and Patrick Colm Hogan, I try to open the rich literary universe of the author of comic books, screenplays, and fiction for children and adults, Neil Gaiman, to literary cognitivism.
The choice of my method is rooted in a criticism of theoretical approaches based on semantic externalism, semiotics, and Saussure's structuralism. I argue for a shift towards empirical methods of literary inquiry rooted in sound linguistics, psychology, and cognitive science.
The overarching theoretical framework for the research into the topic are the cognitive theories of Norman Holland, a reader response literary theorist whose core premise establishes a multi-tiered system of feedback loops, wherein the reader applies their hypotheses (ranging from the most basic physiological responses, through cultural codes and canons, ultimately reaching the overarching identity, which both shapes the entire cognitive feedback process and is also shaped by it) to the engaged literary object.
In a practical reader response study, I utilize Norman Holland's neuropsychoanalytic model to describe how readers read and enjoy a short story by Neil Gaiman. I argue that a successful literary transaction is contingent on the accommodation of readers' projected content, engagement of their psychological defenses, and making sense of the story's ambiguous fantastic plot.
I also delineate a possible avenue of inquiry into literary universals, which are understood as intrinsically tied to our biological endowment. I apply Patrick Colm Hogan's theory of narrative prototypes based on the basic emotions of happiness and sadness to Neil Gaiman's novel Neverwhere.
In a second reader response study included in this thesis, I utilize Keith Oatley's theory of emotions as feedback from readers' evaluations of fictional challenges. I demonstrate how the cognitive universals of happiness and sorrow (and universal narrative structures constituted thereof) are operative in the minds of readers of another one of Gaiman's stories
The aim of this thesis is to describe the interaction of readers' identities with the fictional space of Gaiman's stories (the "smoke and mirrors" of his artifice) and initiate the work towards a formulation of an universal model which could account for the most fundamental differences and similarities found in reader strategies. This model (or models) would, ideally, benefit future research in the field of cognitive literary studies.
Klíčová slova
kognitivní literární studie, literární univerzálie, Neil Gaiman, Norman Holland, psychologie a literatura, čtenářská recepce, fantastično
Klíčová slova v angličtině
cognitive literary studies, literary universals, Neil Gaiman, Norman Holland, psychology and literature, reader response, the fantastic
Rozsah průvodní práce
151
Jazyk
AN
Anotace
Zaujímajúc perspektívu teoretikov ako Keith Oatley, Norman Holland, či Patrick Colm Hogan, táto práca usiluje otvoriť bohatý literárny svet britského autora komiksov, scenárov, poviedok a románov pre deti aj dospelých, Neila Gaimana, literárnemu kognitivizmu.
Výber mojej metódy je určený kritikou teoretických postupov vychádzajúcich zo sémantického externalizmu, sémiotiky a štrukturalizmu Ferdinanda de Saussure. V svojej práci formulujem potrebu prechodu na empirické metódy literárneho bádania ukotvené v súčasnej lingvistike, psychológii a kognitívnych vedách.
Kľúčovým teoretickým rámcom tejto práce sú práve kognitívne teórie Normana Hollanda, teoretika čitateľskej recepcie, ktorého základnú premisu predstavuje systém spätnej väzby, v ktorom čitateľ aplikuje "hypotézy" voči literárnemu objektu. Tieto zahŕňajú základné fyziologické interakcie, kultúrne kódy a kritériá, až celkovú zastrešujúcu identitu čitateľa, ktorá formuje čitateľský zážitok a sama je formovaná ním.
Hollandovu neuropsychoanalytickú metódu aplikujem v praktickej štúdii čitateľskej odozvy k poviedke Neila Gaimana. Poukazujem v nej na závislosť úspechu literárnej transakcie od schopnosti akomodácie obsahu projektovaného čitateľom, miery zapojenia jeho psychologických obrán a úspechu pokiaľ ide o porozumenie dvojznačnej fantastickej zápletke.
Takisto načrtávam možnú cestu pre výskum literárnych univerzálií, ktoré chápem ako neoddeliteľne späté s našou biologickou podstatou. Aplikujem teóriu Hoganových naratívnych prototypov, založených na základných emóciách radosti a smútku, na Gaimanov román Nikdykde.
V druhej praktickej štúdii čitateľskej odozvy overujem Oatleyho teóriu emócií ako spätnej väzby k čitateľovým evaluáciám fiktívnych výziev. Popisujem, ako kognitívne univerzálie radosti a smútku pôsobia v mysliach čitateľov ďalšej z Gaimanových poviedok.
Cieľom práce je popísať interakcie čitateľských identít s literárnym priestorom Gaimanových príbehov a iniciovať snaženie o formuláciu univerzálneho modelu (modelov), ktorý by mohol zachytiť fundamentálne odlišnosti aj podobnosti v čitateľských prístupoch. Z tohto modelu (modelov) by neskôr mohli benefitovať budúce bádateľské pokusy v oblasti kognitívnej literárnej vedy.
Anotace v angličtině
Drawing on the perspectives of Keith Oatley, Norman Holland, and Patrick Colm Hogan, I try to open the rich literary universe of the author of comic books, screenplays, and fiction for children and adults, Neil Gaiman, to literary cognitivism.
The choice of my method is rooted in a criticism of theoretical approaches based on semantic externalism, semiotics, and Saussure's structuralism. I argue for a shift towards empirical methods of literary inquiry rooted in sound linguistics, psychology, and cognitive science.
The overarching theoretical framework for the research into the topic are the cognitive theories of Norman Holland, a reader response literary theorist whose core premise establishes a multi-tiered system of feedback loops, wherein the reader applies their hypotheses (ranging from the most basic physiological responses, through cultural codes and canons, ultimately reaching the overarching identity, which both shapes the entire cognitive feedback process and is also shaped by it) to the engaged literary object.
In a practical reader response study, I utilize Norman Holland's neuropsychoanalytic model to describe how readers read and enjoy a short story by Neil Gaiman. I argue that a successful literary transaction is contingent on the accommodation of readers' projected content, engagement of their psychological defenses, and making sense of the story's ambiguous fantastic plot.
I also delineate a possible avenue of inquiry into literary universals, which are understood as intrinsically tied to our biological endowment. I apply Patrick Colm Hogan's theory of narrative prototypes based on the basic emotions of happiness and sadness to Neil Gaiman's novel Neverwhere.
In a second reader response study included in this thesis, I utilize Keith Oatley's theory of emotions as feedback from readers' evaluations of fictional challenges. I demonstrate how the cognitive universals of happiness and sorrow (and universal narrative structures constituted thereof) are operative in the minds of readers of another one of Gaiman's stories
The aim of this thesis is to describe the interaction of readers' identities with the fictional space of Gaiman's stories (the "smoke and mirrors" of his artifice) and initiate the work towards a formulation of an universal model which could account for the most fundamental differences and similarities found in reader strategies. This model (or models) would, ideally, benefit future research in the field of cognitive literary studies.
Klíčová slova
kognitivní literární studie, literární univerzálie, Neil Gaiman, Norman Holland, psychologie a literatura, čtenářská recepce, fantastično
Klíčová slova v angličtině
cognitive literary studies, literary universals, Neil Gaiman, Norman Holland, psychology and literature, reader response, the fantastic
Zásady pro vypracování
With respect to the construction of symbolic and imaginary realities, it can be of particular interest to study such literary worlds that cross the boundaries between the mundane and the weird, or, in Todorov's conception, hesitate between the uncanny and the marvelous. It is difficult to think of a better candidate that would fit this definition better than the popular contemporary author of fiction for adults and children, the British novelist and screenwriter Neil Gaiman.
If there is a unifying principle that brings together Gaiman's varied works across all manner of media, it is his ability to interweave fantastic and mythological elements with intimate narratives of life-like, relatable charactershe infuses the everyday experience with magic and turns the insignificant into the wondrous. The readers find themselves surrounded by smoke and mirrors of the writer's artifice, a space they can wander around, accept or reject or confront to make sense of the world and of themselves.
Academic works on Gaiman have so far operated with by-and-large postmodern text-active models, using multiculturalist approach (Jódar), Campbellian mythological approach (Rauch, Lukach), or genre studies (Coats). Drawing on the perspectives of Keith Oatley, Norman Holland, Patrick Colm Hogan and Lisa Zunshin, I try to open the rich universe of Gaiman's fiction to literary cognitivism.
The unifying, basic theoretical framework for the research into the topic is the cognitivist theories of Norman Holland, a reader-response literary theoretician whose basic premises originate in the theory of identity of Heinz Lichtenstein. Holland establishes a multi-tiered system of feedback loops, where the reader applies their hypotheses against the engaged literary object, ranging from the most basic physiological responses, going up through cultural codes and canons, ultimately reaching the overarching identity, which both shapes the entire cognitive process of feedback and is also shaped by it.
My aim is to try to describe the interaction of readers' identities with the fictional space of Gaiman's stories in their outward, quantifiable ramifications, and try to formulate an universal model with regards to the most fundamental differences found in reader strategies. This model (or models) would, ideally, benefit future research in the field of theoretical and practical cognitive literary studies.
Zásady pro vypracování
With respect to the construction of symbolic and imaginary realities, it can be of particular interest to study such literary worlds that cross the boundaries between the mundane and the weird, or, in Todorov's conception, hesitate between the uncanny and the marvelous. It is difficult to think of a better candidate that would fit this definition better than the popular contemporary author of fiction for adults and children, the British novelist and screenwriter Neil Gaiman.
If there is a unifying principle that brings together Gaiman's varied works across all manner of media, it is his ability to interweave fantastic and mythological elements with intimate narratives of life-like, relatable charactershe infuses the everyday experience with magic and turns the insignificant into the wondrous. The readers find themselves surrounded by smoke and mirrors of the writer's artifice, a space they can wander around, accept or reject or confront to make sense of the world and of themselves.
Academic works on Gaiman have so far operated with by-and-large postmodern text-active models, using multiculturalist approach (Jódar), Campbellian mythological approach (Rauch, Lukach), or genre studies (Coats). Drawing on the perspectives of Keith Oatley, Norman Holland, Patrick Colm Hogan and Lisa Zunshin, I try to open the rich universe of Gaiman's fiction to literary cognitivism.
The unifying, basic theoretical framework for the research into the topic is the cognitivist theories of Norman Holland, a reader-response literary theoretician whose basic premises originate in the theory of identity of Heinz Lichtenstein. Holland establishes a multi-tiered system of feedback loops, where the reader applies their hypotheses against the engaged literary object, ranging from the most basic physiological responses, going up through cultural codes and canons, ultimately reaching the overarching identity, which both shapes the entire cognitive process of feedback and is also shaped by it.
My aim is to try to describe the interaction of readers' identities with the fictional space of Gaiman's stories in their outward, quantifiable ramifications, and try to formulate an universal model with regards to the most fundamental differences found in reader strategies. This model (or models) would, ideally, benefit future research in the field of theoretical and practical cognitive literary studies.
Seznam doporučené literatury
Boyd, Brian. On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge: Harvard University Press, 2009.
Coats, Karen. "Between Horror, Humor and Hope: Neil Gaiman and the Psychic Work of the Gothic." In The Gothic in Children's Literature: Haunting the Borders, edited by Anna Jackson, Karen Coats and Roderick McGillis, 77-92. New York: Routledge, 2008.
Hogan, Patrick Colm. Cognitive Science, Literature, and the Arts: A Guide for Humanists. New York and London: Routledge, 2003.
Holland, Norman R. Literature and the Brain. Gainesville, FL: PsyArt Foundation, 2009.
Hirsh, Jacob B., Raymond A. Mar, and Jordan B. Peterson. "Personal Narratives as the Highest Level of Cognitive Integration." Behavioral and Brain Sciences 36 (2013): 216-217.
Iser, Wolfgang. The Fictive and the Imaginary: Charting Literary Anthropology. Baltimore: Johns Hopkins UP, 1993.
--- The Act of Reading: A Theory of Aesthetic Response. Baltimore: Johns Hopkins UP, 1980.
Jódar, Andrés R. "Somewhere over the Rainbow: Representation of Identities in Neil Gaiman's The Sandman." Revista Canaria de Estudios Ingleses 54 (April 2007): 149-168.
Lukach, Katherine M. "Transformative Encounters in the Works of Neil Gaiman." MS paper, University of North Carolina, 2007.
Mar, Raymond A. "The Neuropsychology of Narrative: Story Comprehension, Story Production and Their Interrelation." Neuropsychologia 42 (2004): 1414-1434.
--- "The Neural Bases of Social Cognition and Story Comprehension." Annual Review of Psychology 62 (2011): 103-134.
Mar, Raymond A., Keith Oatley, Jacob Hirsh, Jennifer dela Paz, and Jordan B. Peterson.. "Bookworms versus Nerds: Exposure to Fiction versus Non-Fiction, Divergent Associations with Social Ability, and the Simulation of Fictional Social Worlds." Journal of Research in Personality 40 (2006): 694-712.
Oatley, Keith. Best Laid Schemes: The Psychology of Emotions. Cambridge: Cambridge UP, 1992.
Palmer, Alan. Fictional Minds. Lincoln: University of Nebraska, 2004.
Phelan, James. Narrative as Rhetoric: Technique, Audiences, Ethics, Ideology. Columbus: Ohio State University Press, 1996.
Rauch, Stephen. Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth. Holicong: Wildside Press, 2003.
Turner, Mark. The Literary Mind: The Origins of Thought and Language. Oxford: Oxford University Press, 1996.
Zunshin, Lisa. Why We Read Fiction: Theory of Mind and the Novel. Columbus: Ohio State University, 2006.
Seznam doporučené literatury
Boyd, Brian. On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge: Harvard University Press, 2009.
Coats, Karen. "Between Horror, Humor and Hope: Neil Gaiman and the Psychic Work of the Gothic." In The Gothic in Children's Literature: Haunting the Borders, edited by Anna Jackson, Karen Coats and Roderick McGillis, 77-92. New York: Routledge, 2008.
Hogan, Patrick Colm. Cognitive Science, Literature, and the Arts: A Guide for Humanists. New York and London: Routledge, 2003.
Holland, Norman R. Literature and the Brain. Gainesville, FL: PsyArt Foundation, 2009.
Hirsh, Jacob B., Raymond A. Mar, and Jordan B. Peterson. "Personal Narratives as the Highest Level of Cognitive Integration." Behavioral and Brain Sciences 36 (2013): 216-217.
Iser, Wolfgang. The Fictive and the Imaginary: Charting Literary Anthropology. Baltimore: Johns Hopkins UP, 1993.
--- The Act of Reading: A Theory of Aesthetic Response. Baltimore: Johns Hopkins UP, 1980.
Jódar, Andrés R. "Somewhere over the Rainbow: Representation of Identities in Neil Gaiman's The Sandman." Revista Canaria de Estudios Ingleses 54 (April 2007): 149-168.
Lukach, Katherine M. "Transformative Encounters in the Works of Neil Gaiman." MS paper, University of North Carolina, 2007.
Mar, Raymond A. "The Neuropsychology of Narrative: Story Comprehension, Story Production and Their Interrelation." Neuropsychologia 42 (2004): 1414-1434.
--- "The Neural Bases of Social Cognition and Story Comprehension." Annual Review of Psychology 62 (2011): 103-134.
Mar, Raymond A., Keith Oatley, Jacob Hirsh, Jennifer dela Paz, and Jordan B. Peterson.. "Bookworms versus Nerds: Exposure to Fiction versus Non-Fiction, Divergent Associations with Social Ability, and the Simulation of Fictional Social Worlds." Journal of Research in Personality 40 (2006): 694-712.
Oatley, Keith. Best Laid Schemes: The Psychology of Emotions. Cambridge: Cambridge UP, 1992.
Palmer, Alan. Fictional Minds. Lincoln: University of Nebraska, 2004.
Phelan, James. Narrative as Rhetoric: Technique, Audiences, Ethics, Ideology. Columbus: Ohio State University Press, 1996.
Rauch, Stephen. Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth. Holicong: Wildside Press, 2003.
Turner, Mark. The Literary Mind: The Origins of Thought and Language. Oxford: Oxford University Press, 1996.
Zunshin, Lisa. Why We Read Fiction: Theory of Mind and the Novel. Columbus: Ohio State University, 2006.