Читать книгу Mind Presentation in Ian McEwan's Fiction - Karam Nayebpour - Страница 4

List of Abbrevations

Acknowledgements

1. Introduction

1.1 Reading McEwan as a Cognitive Novelist

1.2 Mind Representation in Amsterdam, Atonement and On Chesil Beach and the Aim of this Study

2. Cognitive Narratology and Consciousness (Re)Presentation 2.1 Cognitive Narratology and Narrative Experience

2.1.1 Fictional Minds and Cognitive Reader

2.2 Alan Palmer's Approach to Fictional Minds

2.2.1 (Doubly) Embedded Narratives

2.2.2 Fictional Minds and Theory of Intermental / Intramental Thought

2.2.3 Modes for Presenting Fictional Minds (Consciousness) in Fiction

2.2.3.1 The Speech Categories, Thought Report and Free Indirect Thought

2.3 David Herman's Approach to Narrative and Narrativity

2.3.1 What It's Like or Qualia

3. Amsterdam

3.1 Intramental Characterization and Consciousness Presentation: AM

3.2 The Passage from Intermental to Intramenal Minds: Clive Linely's and Vernon Halliday's (Doubly) Embedded Narratives

3.3 The (Im)Balance between Intermental and Intramental Thoughts: Representation of the Impact of Narrative Events and Situations on Clive Linely's Mind

3.4 The Egocentricism and Intermentality: Representation of the Impact of (Intentional) Intramentality on Vernon Haliday's Thoughts and Actions

4. Atonement

4.1 An Intramental Thought against Intermental Minds: AT

4.2 Briony Tallis's Intramental Mind and the Order of the Real World

4.3 In Search of Love: Constructin of an Interminal Mind between Cecilia and Robbie

4.4 The Destructive Impact of Briony's Intramental Thoughts on the Emerging Intermental Bond between Cecilia and Robbie

5. On Chesil Beach

5.1 A Narrative of Unfortunate Misreadings: CB

5.2 The Imbalance in the Intermental Unit between Edward and Florence

5.3 What It's Like to »Love, and Set Each Other Free«: Florence Ponting's Passage from Intermentality to Intramentality

5.4 The Question of Aspectuality in the Embedded Narratives: Edward Mayhew

6. Conclusion

7. Bibliography