We live in an age that is witnessing a growing interest in narrative studies, cognitive neuroscientific tools, mind studies and artificial intelligence hypotheses. This book therefore aims to expand the exegesis of Carroll's "Alice" books, aligning them with the current intellectual environment. The theoretical force of this volume lies in the successful encounter between a great book (and all its polysemous ramifications) and a new interpretative point of view, powerful enough to provide a new original contribution, but well grounded enough not to distort the text itself. Moreover, this book is one of the first to offer a complete, thorough analysis of one single text through the theoretical lens of cognitive narratology, and not just as a series of brief examples embedded within a more general discussion. It emphasises in a more direct, effective way the actual novelty and usefulness of the dialogue established between narrative theory and the cognitive sciences. It links specific concepts elaborated in the theory of cognitive narratology with the analysis of the "Alice" books, helping in this way to discuss, question and extend the concepts themselves, opening up new interpretations and practical methods.

We live in an age that is witnessing a growing interest in narrative studies, cognitive neuroscientific tools, mind studies and artificial intelligence hypotheses. This book therefore aims to expand the exegesis of Carroll's "Alice" books, aligning them with the current intellectual environment. The theoretical force of this volume lies in the successful encounter between a great book (and all its polysemous ramifications) and a new interpretative point of view, powerful enough to provide a new original contribution, but well grounded enough not to distort the text itself. Moreover, this book is one of the first to offer a complete, thorough analysis of one single text through the theoretical lens of cognitive narratology, and not just as a series of brief examples embedded within a more general discussion. It emphasises in a more direct, effective way the actual novelty and usefulness of the dialogue established between narrative theory and the cognitive sciences. It links specific concepts elaborated in the theory of cognitive narratology with the analysis of the "Alice" books, helping in this way to discuss, question and extend the concepts themselves, opening up new interpretations and practical methods.

This essay collection focuses on enclosure, deception and secrecy in three spatial areas – the body, clothing and furniture. It contributes to the study of private life and explores the micro-history of hidden spaces. The contents of pockets may prove a surer index to their owner’s real thoughts than anything they say; a piece of furniture with ingenious mechanisms created to conceal secrets may also reveal someone’s attempts to break in and thus give away as much as it holds. Though the book’s focus is on particular material or imagined objects, taken as a whole it exemplifies a range of interdisciplinary encounters between history, literary criticism, art history, philosophy, psychoanalysis, sociology, criminology, archival studies, museology and curating, and women’s studies.

This work demonstrates that not everything that Disney touched turned to gold. In its first 100 years, the company had major successes that transformed filmmaking and culture, but it also had its share of unfinished projects, unmet expectations, and box-office misses. Some works failed but nevertheless led to other more stunning and lucrative ones; others shed light on periods when the Disney Company was struggling to establish or re-establish its brand. In addition, many Disney properties, popular in their time but lost to modern audiences, emerge as forgotten gems. By exploring the studio's missteps, this book provides a more complex portrayal of the history of the company than one would gain from a simple recounting of its many hits. With essays by writers from across the globe, it also asserts that what endures or is forgotten varies from person to person, place to place, or generation to generation. What one dismisses, someone else recalls with deep fondness as a magical Disney memory.

This book brings together several major essays on foundational topics of narrative studies and the theory of fictionality by one of the preeminent figures of postclassical narrative theory. It reexamines and reconceives the role of the author, the status of implied authors, the model for unnatural narrative theory, the nature of narrative, and the ideological implications of narrative forms. It also explores the status of historical characters in fictional texts, the paradoxes of realism, the presence of multiple implied readers, the role of actual readers, and the question of fictionality. In addition, an appendix offers a useful approach for teaching narrative theory. The book includes analyses of works by Conrad, Joyce, Woolf, Nabokov, Beckett, Jeanette Winterson, Deborah Eisenberg, and others. Throughout, it argues for a more expansive conception of narrative theory and keen attention to the nature and difference of fiction. This provocative book makes crucial interventions in ongoing critical debates about narrative theory, literary theory, and the theory of fictionality, and is essential reading for all students of narrative.

Memorable children's narratives immerse readers in imaginary worlds that bring them into the story. Some of these places have been constructed in the real world--like Pinocchio's Tuscany or Anne of Green Gables' Prince Edward Island--where visitors relive their favorite childhood tales. Theme parks like Walt Disney World and Harry Potter World use technology to engineer enchanting environments that reconnect visitors with beloved fictional settings and characters in new ways. This collection of new essays explores the imagined places we loved as kids, with a focus on the meaning of setting and its power to shape the way we view the world.

From the forests of the tales of the Brothers Grimm to Enid Blyton’s The Faraway Tree, from the flowers of Cicely May Barker’s fairies to the treehouse in Andy Griffith and Terry Denton’s popular 13-Storey Treehouse series, trees and other plants have been enduring features of stories for children and young adults. Plants act as gateways to other worlds, as liminal spaces, as markers of permanence and change, and as metonyms of childhood and adolescence. This anthology is the first compilation devoted entirely to analysis of the representation of plants in children’s and young adult literatures, reflecting the recent surge of interest in cultural plant studies within the environmental humanities. Mapping out and presenting an internationally inclusive view of plant representation in texts for children and young adults, the volume includes contributions examining European, American, Australian, and Asian literatures and contributes to the research fields of ecocriticism, critical plant studies, and the study of children’s and young adult literatures.