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• To contribute to the interpretation, critical analysis, recognition, promotion, and wider understanding of Australian drama, theatre and performance.
• To publish scholarship on Australian drama, theatre and performance, including: critical studies of a particular playwright, director or company and their plays, productions and/or performances; thematic studies exploring the work of a group of Australian playwrights, theatre companies and/or performance makers; and scholarly books investigating a period, topic or approach in Australian drama, theatre or performance.
• To enliven, enrich, inform and illustrate the study of drama, theatre and performance, both within Australia and internationally, especially for scholars, artists and students.
Each book in the series offers an in-depth study aimed at furthering knowledge of Australian drama, theatre and performance within the broader formation of Australian culture by drawing on a range of primary and secondary sources concerned with playwriting, performance-making, theatre production and/or critical reception.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Questions about your manuscript and proposals can also be directed to the Series Editor, Jonathan Bollen.
• To contribute to the interpretation, critical analysis, recognition, promotion, and wider understanding of Australian drama, theatre and performance.
• To publish scholarship on Australian drama, theatre and performance, including: critical studies of a particular playwright, director or company and their plays, productions and/or performances; thematic studies exploring the work of a group of Australian playwrights, theatre companies and/or performance makers; and scholarly books investigating a period, topic or approach in Australian drama, theatre or performance.
• To enliven, enrich, inform and illustrate the study of drama, theatre and performance, both within Australia and internationally, especially for scholars, artists and students.
Each book in the series offers an in-depth study aimed at furthering knowledge of Australian drama, theatre and performance within the broader formation of Australian culture by drawing on a range of primary and secondary sources concerned with playwriting, performance-making, theatre production and/or critical reception.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Questions about your manuscript and proposals can also be directed to the Series Editor, Jonathan Bollen.
All submissions are subject to a double-anonymous peer review process prior to publication.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
The series published an average of 1,5 volumes per year over the last 5 years.
Abstract
The third chapter discusses some of the key ideas related to cognitive narratology and genetic criticism. The section on cognitive narratology zooms in on how the mindscapes Joyce created in his modernist fiction require specific narratological understandings of consciousness, characterisation, focalisation, and storyworlds. These terms are tailored to suit the needs of Joycean technicalities and the innovative rendering of content and form in his modernist works. As for genetic criticism, the gradual process of elaboration that was involved in Joyce’s literary mind-shaping is observable in the author’s paper workshop. This section establishes why the vantage point of genetic criticism is a fruitful way of approaching Joyce’s oeuvre by engaging with notes, drafts, letters, and so on. Then, the advantages of merging cognitive narratology and genetic criticism are discussed.
Abstract
By zooming out in relation to the analyses of Joyce’s protagonists’ minds through the lens of 4E-based cognitive-genetic narratology, the epilogue of this book concludes that the discourse of the ‘inward turn’ can no longer be upheld as the best way to approach the minds of Joyce’s characters. The author’s mind-evoking strategies portray cognitive and affective processes that are more often than not world-involving, and not necessarily ‘inward turning’. Joyce’s concentration on the faculties of the mind and his formally innovative depiction of thought processes enable him to display his protagonists in a fused interconnectedness with their surroundings.
Abstract
The prologue of this book delves into why ‘Joycean minds’ are illuminating examples of wider cultural models of mental experience, by examining what is meant by ‘the mind’ and ‘mental states’ and by providing examples featuring in James Joyce’s oeuvre to illustrate such concepts. By arguing why Joyce’s works are so congenial for reassessing the so-called ‘inward turn’ of modernist fiction on the basis of the nexus between cognitive narratology, genetic criticism, and 4E approaches to the mind, the prologue indicates how the Joycean texts examined in this book present particularly revealing case studies for genetic critics, narrative theorists, and philosophers who are interested in the broader conceptual issues explored here.