In this fresh and often playful interdisciplinary study, Lisa Zunshine presents a fluid discussion of how key concepts from cognitive science complicate our cultural interpretations of “strange” literary phenomena. From Short Circuit to I, Robot, from The Parent Trap to Big Business, fantastic tales of rebellious robots, animated artifacts, and twins mistaken for each other are a permanent fixture in popular culture and have been since antiquity. Why do these strange concepts captivate the human imagination so thoroughly? Zunshine explores how cognitive science, specifically its ideas of essentialism and functionalism, combined with historical and cultural analysis, can help us understand why we find such literary phenomena so fascinating. Drawing from research by such cognitive evolutionary anthropologists and psychologists as Scott Atran, Paul Bloom, Pascal Boyer, and Susan A. Gelman, Zunshine examines the cognitive origins of the distinction between essence and function and how unexpected tensions between these two concepts are brought into play in fictional narratives. Discussing motifs of confused identity and of twins in drama, science fiction’s use of robots, cyborgs, and androids, and nonsense poetry and surrealist art, she reveals the range and power of key concepts from science in literary interpretation and provides insight into how cognitive-evolutionary research on essentialism can be used to study fiction as well as everyday strange concepts.

An original interdisciplinary study positioned at the intersection of literary theory and neuroscience. "Literature matters," says Paul B. Armstrong, "for what it reveals about human experience, and the very different perspective of neuroscience on how the brain works is part of that story." In How Literature Plays with the Brain, Armstrong examines the parallels between certain features of literary experience and functions of the brain. His central argument is that literature plays with the brain through experiences of harmony and dissonance which set in motion oppositions that are fundamental to the neurobiology of mental functioning. These oppositions negotiate basic tensions in the operation of the brain between the drive for pattern, synthesis, and constancy and the need for flexibility, adaptability, and openness to change. The challenge, Armstrong argues, is to account for the ability of readers to find incommensurable meanings in the same text, for example, or to take pleasure in art that is harmonious or dissonant, symmetrical or distorted, unified or discontinuous and disruptive. How Literature Plays with the Brain is the first book to use the resources of neuroscience and phenomenology to analyze aesthetic experience. For the neuroscientific community, the study suggests that different areas of research—the neurobiology of vision and reading, the brain-body interactions underlying emotions—may be connected to a variety of aesthetic and literary phenomena. For critics and students of literature, the study engages fundamental questions within the humanities: What is aesthetic experience? What happens when we read a literary work? How does the interpretation of literature relate to other ways of knowing?

Intelligent machines have long existed in science fiction, and they now appear in mainstream films such as Bladerunner, Ex Machina, I Am Mother and Her, as well as in a recent proliferation of literary texts narrated from the machine's perspective. These new portrayals of artificial intelligence inevitably foreground dilemmas related to identity and selfhood, concepts being reassessed in the 21st century. Taking a close look at novels like Ancillary Justice, Aurora, All Systems Red, The Actuality, The Unseen World and Klara and the Sun, this work investigates key questions that arise from the use of AI narrators. It describes how these narratives challenge humanist principles by suggesting that selfhood is an illusion, even as they make the case for extending these principles to machines by proposing that they are not so different from humans. The book examines what is at stake with nonhuman narration, the qualities of AI narratives, and what it might mean to relate to a narrator when the voice adopted is that of an AI.

Explores how and why narrative fiction engages empathy, including Theory of MindOffers a broad overview of current scientific work on the effects of fiction-reading on empathy, including Theory of MindProvides an original intervention in the field of literary theory, centring on the reflexive properties of the fictional strangerIncludes stand-alone close readings of three novels by important French authorsThis book studies recent psychological findings which suggest that reading fiction cultivates empathy, encouraging us to be critically reflective, suspicious readers as well as participatory, 'nave' readers. Scott draws on literary theory and close readings to argue that engagement with fictional stories also teaches us to resist uncritical forms of empathy and reminds us of the limitations of our ability to understand other people. The book treats figures of the stranger in Balzac's La Fille aux yeux d'or, Stendhal's Le Rouge et le Noir and Sand's Indiana as emblematic of the strangeness of narrative fiction, both drawing us in and keeping us at a distance.

This book examines key points of J. R. R. Tolkien’s life and writing career in relation to his views on humanism and feminism, particularly his sympathy for and toleration of those who are different, deemed unimportant, or marginalized—namely, the Other. Jane Chance argues such empathy derived from a variety of causes ranging from the loss of his parents during his early life to a consciousness of the injustice and violence in both World Wars. As a result of his obligation to research and publish in his field and propelled by his sense of abjection and diminution of self, Tolkien concealed aspects of the personal in relatively consistent ways in his medieval adaptations, lectures, essays, and translations, many only recently published. These scholarly writings blend with and relate to his fictional writings in various ways depending on the moment at which he began teaching, translating, or editing a specific medieval work and, simultaneously, composing a specific poem, fantasy, or fairy-story. What Tolkien read and studied from the time before and during his college days at Exeter and continued researching until he died opens a door into understanding how he uniquely interpreted and repurposed the medieval in constructing fantasy.

The theory of Blending, or Conceptual Integration, proposed by Gilles Fauconnier and Marc Turner, is one of most promising cognitive theories of meaning production. It has been successfully applied to the analysis of poetic discourse and micro-textual elements, such as metaphor. Prose narrative has so far received significantly less attention. The present volume aims to remedy this situation. Following an introductory discussion of the connections between narrative and the processes of blending, the contributions demonstrate the range of applications of the theory to the study of narrative. They cover issues such as time and space, literary character and perspective, genre, story levels, and fictional minds; some chapters show how such phenomena as metalepsis, counterfactual narration, intermediality, extended metaphors, and suspense can be fruitfully studied from the vantage point of Conceptual Integration. Working within a theoretical framework situated at the intersection of narratology and the cognitive sciences, the book provides both fresh readings for individual literary and film narratives and new impulses for post-classical narratology.

Using an innovative multidisciplinary approach which is deeply invested in posthumanist thought, this book demonstrates how reading science fiction shapes the way we engage with lived environments. In dialogue with works by widely studied science fiction authors Greg Bear, N.K. Jemisin, Paolo Bacigalupi, and Jeff VanderMeer, it draws out how they function as mutant narratives. The first to systematically integrate three fields – feminist posthumanism, cognitive narratology, and science fiction studies – it offers a complex and coherent understanding of readerly experience as material, embodied, dynamic, and imaginative. Covering a range of urgent topics, including climate fiction, New Weird fiction, and new phenomenologies of the body, this book is the first to demonstrate how readerly experience acts as a site for ethical and political reorientation in the time of climate change.