DOCSLIB.ORG

In Quest For/Of European Literature by Matthias Beilein / Germany

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Quest For/Of European Literature by Matthias Beilein / Germany In Quest for/of European Literature by Matthias Beilein / Germany Scientific Coordinator of the Postgraduate Programme VolkswagenStiftung Wertung und Kanon, Georg-August-Universiy Göttingen First I would like to present to you some literature, and everybody must endeavor to approaches to the questions “What is Euro- accelerate this epoch.”1 Even if Goethe pean literature?” and “What is the canon of admired foreign poetry and was able to read European literature?”, then I want to present and to translate from many different to you the concept of literary canons as social languages, we should not understand this constructions, and finally I am going to give passage in the text as his recommendation to you some concluding remarks on European open the canon. It is true that Goethe had on canon formation. the one side an extensive understanding of literature and had the strong conviction that 1.1 European literature as an idea an educated man should know not only the Goethe literature written in his own native language; Up to the present there have been many, but on the other side this does not include for many attempts to describe or define the him a re-evaluation of the canon, that is to European canon of literature. You can divide say: for Goethe there is one firm measure of these attempts into three general literary evaluation, and that is the ancient approaches. First: European literature as an Greek and Latin literature which is not to be idea, second: European literature as a set surpassed in its literary value and has unchallenged cultural hegemony. canon of texts, and third: as a narrative which is a mixture of both of them. As one can learn from other passages in The best known example for the first Goethe’s work, Weltliteratur is a rather approach is probably Goethe’s definition of pragmatic concept: The interchange of ideas Weltliteratur, world literature. Needless to say with poets from other countries is a tool for there is a big difference between world people and peoples “to become aware of and literature and European literature. But most of understand each other, and, if love proves the insights concerning world literature can impossible, they should at least learn to easily be translated into the conditions of tolerate one another”2 writes the late Goethe European literature, since both of them are and concedes that “it cannot be hoped that transnational, transcultural and multilingual this will produce a general peace, but it can concepts and especially Goethe had this be hoped that the inevitable conflicts will possible transfer in mind. Goethe’s concept is gradually become less important, that war will still important since it re-echoes in the become less cruel and victory less arrogant.”3 ongoing discussions about canon formation. You see, we cannot really learn from Goethe The late Goethe uses the term Weltliteratur what a canon of European literature should in different contexts and occasions, the best- known and at the same time misleading 1 “Eckermann. “Gespräche mit Goethe, 31.1.1827”. Cit. from: Hendrik Birus. The Goethean Concept of World Literature and passage might be from Eckermann’s Comparative Literature. CLCWeb Vol. 2 Issue 4 (December Conversations with Goethe where the then 2000) Article 7. <http://docs.lib.purdue.edu/clcweb/vol2/ iss4/7>: 5. – Original: „Ich sehe immer mehr, […] daß die almost eighty years old poet is cited as Poesie ein Gemeingut der Menschheit ist, und daß sie überall follows: “Poetry is the common property of und zu allen Zeiten in hunderten und aber hunderten von Menschen hervortritt. […] Ich sehe mich daher gern bei mankind, and it emerges in all places and at fremden Nationen um und rate jedem, es auch seinerseits zu all time. […] This is why I study foreign tun. National-Literatur will jetzt nicht viel sagen, die Epoche der Welt-Literatur ist an der Zeit und jeder muß jetzt dazu wirken, nations and advise everybody else to do the diese Epoche zu beschleunigen.“ 2 same. National literature does not mean Goethe. Cit. from: Birus. The Goethean Concept: 5. 3 Goethe. Cit. from: Birus. The Goethean Concept: 5f. much at present, it is time for an era of world 1 The European Literary Canons look like, but we learn why it is necessary for listing containing several thousand works by every educated human being to cross the more than 850 writers, whom Bloom borders of one’s own national literature: considers to be the key figures in the Western European literature in this sense is rather a Canon as a whole.8 This broader canon lists pragmatic idea than a corpus of texts. works written only in the dominating European languages: Italian, Spanish, Damrosch Russian, French, Portuguese, German and David Damrosch, a Harvard Professor of English, including some Sanskrit works, some Comparative Literature, is in many ways texts in ancient Greek and Latin and, as an influenced by Goethe’s concept of world exception, two authors from Scandinavia, literature. In his highly acclaimed book What Ibsen and Strindberg. Bloom’s concept of is World Literature, published in 2003, he canon is mainly an orientation for readers, presents a threefold definition of world since his key question is “What can a man literature. Here I can only mention his read and reread during a lifetime?”9 So, if you definition without discussing it. Damrosch are looking for the European canon: simply says, that world literature is: first “an elliptical take Bloom’s list, subtract the American and refraction of national literatures”4, second 5 Sanskrit literature and – here you are. But do “writing that gains in translation” and third not expect to find anything written in “not at set canon of texts but a mode of Hungarian, Finnish or Polish in it. reading, a detached engagement with a world 6 Another proposal for defining an European beyond our own” . So Damrosch’s idea of canon as a corpus of texts, is, simply world literature also is a program for better speaking, restraining European literature to understanding, but his main focus is on the Ancient heritage. German classical understanding literature: By relating literary scholar Manfred Fuhrmann for example, who texts from different languages and different published his Der europäische Bildungskanon cultures, these works will begin to resonate (The European Canon of Education or together in our mind, and by doing this will Bildung) in 1999 and his Bildung. Europas help us to learn more about certain topics or kulturelle Identität (Bildung. Europe’s Cultural certain ages. World literature is a “coming 7 Identity) in 2002, defines Europe’s identity as together from separate worlds” , and to resulting from certain cultural traditions. He enable this gathering, some actions must be asks: “What is Europe but Christianity and the taken, for example, simply to speak, learn humanist’s reception of the ancient world?”10 more languages, promote literary translations, With this definition the European canon is and intensify the departments of comparative limited to the major works by ancient Greek literature at universities. So Damrosch’s and Roman authors. concept again is an understanding of world A third way of defining world literature or literature in an idealistic way, not as a canon European literature as a corpus of texts and of texts. authors is an encyclopedic approach. To mention only one example: The third edition 1.2 European literature as a canon of texts of German Kindlers Literaturlexikon, edited But of course there have been many last year by Heinz Ludwig Arnold, displays attempts to define a canon of European the scope of world literature in 18 volumes, literature as a corpus of texts and authors. containing about 13,000 articles, discussing Take for instance the famous book by Yale works by more than 8,000 authors, written by Professor Harold Bloom: The Western more than fifteen hundred scholars and Canon, published in 1994, that treats 26 journalists who were supervised by 75 writers in detail and closes with an appendix consultants. 4 David Damrosch. What is World Literature? Princeton, NJ: 8 Damrosch. What is World Literature: 141. Princeton UP 2003: 281. 9 Harold Bloom. The Western Canon. New York/San 5 Damrosch. What is World Literature: 288. 6 Diego/London: Harcourt Brace, 1994: 37. Damrosch. What is World Literature: 297. 10 7 Manfred Fuhrmann. Bildung. Europas kulturelle Identität. Damrosch. What is World Literature: 284. Stuttgart: Reclam, 2002: 80. 2 The European Literary Canons 1.3 European literature as a narrative For instance you can easily show how My last example for an approach to the much Bloom’s canon is influenced by Anglo- European canon of literature is an under- American traditions. These manifestations standing of European literature as a narrative. can only be as good as their reasons for There do not exist many successful examples decision, and the problem with most of the representing this approach, one is L’Histoire concrete canons is indeed that they lack of de la littérature européenne, published by clear and distinct selection criteria. Hachette in 1992, second edition in 2007, and Take for instance Bloom’s Western Canon. translated into English as History of European As far as I can see he mentions two or three Literature by Routledge in 2000. In this standards for “canonical literature”, and these volume of more than a thousand pages more are “aesthetic authority”, “creative power” and 11 than 150 authors try to tell the story of “aesthetic value” , but he never specifies European literature based on social history these standards. This doesn’t make his canon and on a more capacious basis than the selection arbitrary but at least rather focus on just a few large literatures.
Load more

Recommended publications
  • Part One: 'Science Fiction Versus Mundane Culture', 'The Overlap Between Science Fiction and Other Genres' and 'Horror Motifs' Transcript
    Part One: 'Science Fiction versus Mundane Culture', 'The overlap between Science Fiction and other genres' and 'Horror Motifs' Transcript Date: Thursday, 8 May 2008 - 11:00AM Location: Royal College of Surgeons SCIENCE FICTION VERSUS MUNDANE CULTURE Neal Stephenson When the Gresham Professors Michael Mainelli and Tim Connell did me the honour of inviting me to this Symposium, I cautioned them that I would have to attend as a sort of Idiot Savant: an idiot because I am not a scholar or even a particularly accomplished reader of SF, and a Savant because I get paid to write it. So if this were a lecture, the purpose of which is to impart erudition, I would have to decline. Instead though, it is a seminar, which feels more like a conversation, and all I suppose I need to do is to get people talking, which is almost easier for an idiot than for a Savant. I am going to come back to this Idiot Savant theme in part three of this four-part, forty minute talk, when I speak about the distinction between vegging out and geeking out, two quintessentially modern ways of spending ones time. 1. The Standard Model If you don't run with this crowd, you might assume that when I say 'SF', I am using an abbreviation of 'Science Fiction', but here, it means Speculative Fiction. The coinage is a way to cope with the problem that Science Fiction is mysteriously and inextricably joined with the seemingly unrelated literature of Fantasy. Many who are fond of one are fond of the other, to the point where they perceive them as the same thing, in spite of the fact that they seem quite different to non-fans.
    [Show full text]
  • Fictionality and the Empirical Study of Literature
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 18 (2016) Issue 2 Article 3 Fictionality and the Empirical Study of Literature Torsten Pettersson University of Uppsala Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters
    [Show full text]
  • Popular Fiction: Some Theoretical Perspectives
    http://www.epitomejournals.com Vol. 4, Issue 7, July 2018, ISSN: 2395-6968 POPULAR FICTION: SOME THEORETICAL PERSPECTIVES Mangrule Toufik Maheboob, Ph.D. in English, Mahatma Gandhi Mahavidyalaya, Ahmedpur, Dist.-Latur (MS). ABSTRACT Popular fiction is a very significant area of literature and literary studies. At the same time it is very complicated to be defined as it is the part of ever-pervading popular culture. The field of popular fiction is a very notable part of popular culture. As popular culture is widespread and ever-pervading, popular fiction is also very vast and wide. As there is no clear boundary between the culture and popular culture, it is also very difficult to define popular fiction due to its all-pervading nature. Popular fiction is always seen and defined in contrast with literary fiction. However, many books of literary fiction share the elements of popular fiction. Similarly, many books of popular fiction include the elements of literary fiction. Hence, there is not a clear boundary between literary fiction and popular fiction. Due to this, it becomes very difficult to define the field of popular fiction and distinguish it from literary fiction. However, this difficult task of defining popular fiction can be made something easy with the help of the theory of popular fiction as proposed by some critics who have tried to define popular fiction as a special kind of cultural practice. The present study 37 Impact Factor = 3.656 Dr. Pramod Ambadasrao Pawar, Editor-in-Chief ©EIJMR All rights reserved. http://www.epitomejournals.com Vol. 4, Issue 7, July 2018, ISSN: 2395-6968 incorporates the theory of popular fiction in the light of the perspectives of some of the prominent critics, Ken Gelder, Thomas Roberts and Victor Neuburg.
    [Show full text]
  • ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
    Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.
    [Show full text]
  • Science Fiction Gerry Canavan Marquette University, [email protected]
    Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2016 Science Fiction Gerry Canavan Marquette University, [email protected] Published version. "Science Fiction," in Oxford Research Encyclopedia of Literature, David McCooey. Oxford University Press, 2016. DOI. © 2016 Oxford University Press. Used with permission. Science Fiction Oxford Research Encyclopedia of Literature Science Fiction Gerry Canavan Subject: American Literature, British, Irish, Scottish, and Welsh Literatures, English Language Literatures (Other Than American and British) Online Publication Date: Mar 2017 DOI: 10.1093/acrefore/9780190201098.013.136 Summary and Keywords Science fiction (SF) emerges as a distinct literary and cultural genre out of a familiar set of world-famous texts ranging from Mary Shelley’s Frankenstein (1818) to Gene Roddenberry’s Star Trek (1966–) to the Marvel Cinematic Universe (2008–) that have, in aggregate, generated a colossal, communal archive of alternate worlds and possible future histories. SF’s dialectical interplay between utopian optimism and apocalyptic pessimism can be felt across the genre’s now centuries-long history, only intensifying in the 20th century as the clash between humankind’s growing technological capabilities and its ability to use those powers safely or wisely has reached existential-threat propositions, not simply for human beings but for all life on the planet. In the early 21st century, as in earlier cultural moments, the writers and critics of SF use the genre’s articulation of different societies and different possible futures as the occasion to reflect on our own present, in ways that range from full-throated defense of the status quo to the ruthless denunciation of all institutions that currently exist in the name of some other, better world.
    [Show full text]
  • Social Science Fiction from the Sixties to the Present Instructor: Joseph Shack [email protected] Office Hours: to Be Announced
    Social Science Fiction from the Sixties to the Present Instructor: Joseph Shack [email protected] Office Hours: To be announced Course Description The label “social science fiction,” initially coined by Isaac Asimov in 1953 as a broad category to describe narratives focusing on the effects of novel technologies and scientific advances on society, became a pejorative leveled at a new group of authors that rose to prominence during the sixties and seventies. These writers, who became associated with “New Wave” science fiction movement, differentiated themselves from their predecessors by consciously turning their backs on the pulpy adventure stories and tales of technological optimism of their predecessors in order to produce experimental, literary fiction. Rather than concerning themselves with “hard” science, social science fiction written by authors such as Ursula K. Le Guin and Samuel Delany focused on speculative societies (whether dystopian, alien, futuristic, etc.) and their effects on individual characters. In this junior tutorial you’ll receive a crash course in the groundbreaking science fiction of the sixties and seventies (with a few brief excursions to the eighties and nineties) through various mediums, including the experimental short stories, landmark novels, and innovative films that characterize the period. Responding to the social and political upheavals they were experiencing, each of our authors leverages particular sub-genres of science fiction to provide a pointed critique of their contemporary society. During the first eight weeks of the course, as a complement to the social science fiction we’ll be reading, students will familiarize themselves with various theoretical and critical methods that approach literature as a reflection of the social institutions from which it originates, including Marxist literary critique, queer theory, feminism, critical race theory, and postmodernism.
    [Show full text]
  • Golden Fantasy: an Examination of Generic & Literary Fantasy in Popular Writing Zechariah James Morrison Seattle Pacific Nu Iversity
    Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 3rd, 2016 Golden Fantasy: An Examination of Generic & Literary Fantasy in Popular Writing Zechariah James Morrison Seattle Pacific nU iversity Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Children's and Young Adult Literature Commons, and the Fiction Commons Recommended Citation Morrison, Zechariah James, "Golden Fantasy: An Examination of Generic & Literary Fantasy in Popular Writing" (2016). Honors Projects. 50. https://digitalcommons.spu.edu/honorsprojects/50 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. Golden Fantasy By Zechariah James Morrison Faculty Advisor, Owen Ewald Second Reader, Doug Thorpe A project submitted in partial fulfillment of the requirements of the University Scholars Program Seattle Pacific University 2016 2 Walk into any bookstore and you can easily find a section with the title “Fantasy” hoisted above it, and you would probably find the greater half of the books there to be full of vast rural landscapes, hackneyed elves, made-up Latinate or Greek words, and a small-town hero, (usually male) destined to stop a physically absent overlord associated with darkness, nihilism, or/and industrialization. With this predictability in mind, critics have condemned fantasy as escapist, childish, fake, and dependent upon familiar tropes. Many a great fantasy author, such as the giants Ursula K. Le Guin, J.R.R. Tolkien, C.S. Lewis and others, has recognized this, and either agreed or disagreed as the particulars are debated.
    [Show full text]
  • Literary Fiction
    CLOSE-UP: LIT ERARY FICTION Glimmer Train Close-ups are single-topic, e-doc publications specifically for writers, from the editors of Glimmer Train Stories and Writers Ask. BENJAMIN PERCY, interviewed by Andrew McFadyen-Ketchum: Your stories move quickly beyond their telling and into the more complex realm of literary fiction. Peter Straub put it best when he said, “Benjamin Percy moves instinctively toward the molten center of contemporary writing, the place where genre fiction, in this case horror, overflows its boundaries and becomes something dark and grand and percipient. These stories (Refresh, Refresh) contain a brutal power and are radiant with pain—only a writer of surpassing honesty and directness could lead us here.” Yeah, that meant a lot to me, Peter’s blurb. He’s been a kind of invisible mentor—I started reading his books in middle school—so he’s been with me all along, hovering over my shoulder like a ghost, whispering in my year. And now we’re pals, which feels a little sur- real. I’m definitely following his tracks in the mud, trying to write stories that some have called “liter- ary horror,” (thinking of horror as an emotion more than a genre). Some writers, especially in the academic circuit, turn their back on genre. That snobbishness pisses Submission Calendar me off. If you look at the worst of genre fiction, CLOSE-UP: LITERARY FICTION © Glimmer Train Press • glimmertrain.org 1 sure, the characters are cardboard cut-outs, the language is transparent, but if you look at the worst of literary fiction—which has become a genre of its own—there’s plenty to complain about, too: the wankiness of the purple prose, the high boredom of the material, etc.
    [Show full text]
  • Literature in the 21St Century
    Literature in the 21st Century: Understanding Models of Support for Literary Fiction Literature in the 21st Century: Understanding Models of Support for Literary Fiction Contents Executive Summary 3 Notes on Goals and Methodology 5 1. Data analysis 6 2. Interviews 7 3. Survey 7 4. Other research 8 Arts Council England Funding for Literature 9 Part I – The Context 10 1. The Market 10 2. Publishers, Prizes and Marketing 21 3. Ebooks and Digital Technology 29 4. Barriers to entry 33 Recap 37 Part II – Models of Support 38 1. Advances 38 2. Other Commercial Models 42 3. Grants and Not-For-Profit Support 46 4. Emerging Models of Support 48 Conclusion 52 Appendices 53 I – Limitations to the data 53 II – Interviewees and questions 53 III – About the Authors and Arts Council England 54 IV – Suggested and Further Reading 55 Trade Press 55 Journals 55 Books 58 Canelo / Arts Council England | 2 Literature in the 21st Century: Understanding Models of Support for Literary Fiction Executive Summary It’s easy to believe there was once a Golden Age for literary fiction, but the history of publishing tells us otherwise. It has rarely, if ever, been easy to support literary writing. Our current environment presents unique challenges, but also some opportunities. Changing technology, an historic shift in the markets for cultural and entertainment goods, and rapidly evolving consumer preferences all mean the assumption that literary fiction is in a precarious place must be explored in depth. This report, which was commissioned and funded by Arts Council England and prepared by Canelo, looks at the position of literary fiction today.
    [Show full text]
  • 25 CHAPTER 1 Breaking the Canon? Critical Reflections on “Other”
    könyv tördelt:Layout 1 2012.04.18. 12:57 Page 25 CHAPTER 1 Breaking the Canon? Critical Reflections on “Other” Literary Traditions Sandra Ponzanesi Introduction This chapter focuses on the role of the literary canon as a crucial instrument and reference point in pedagogy and teaching about gender and race. The analysis of the construction, working and transformation of the canon, and the Western canon in particular, forms the ideal arena to teach and discuss how the intersection of race, ethnicity, nationality and language plays a role in processes of inclusion and exclusion, on theoretical, institutional and com - mercial levels. The main objective of the chapter is to rethink these issues by making an excursion into feminist practices in relation to the canon from its origin through to the feminist postcolonial interventions of the 1990s and onward, while accounting for the vexed relationship with commercial practices such as branding, awards and prizes. The garnering of prestigious literary prizes, such as the Nobel, Booker or Pulitzer prizes, can lend considerable visibility and coverage to previously excluded female and ethnic minority au - thors. Yet these very “inclusions” also jeopardise or whitewash some of the radical views of the writers involved by “blending” them into the canon or the mainstream. By taking Toni Morrison, the first Afro-American Nobel Prize winner and one of the first authors to depart from the literary canon as a unique example, the scope is to explore the politics of cultural production and to analyse how the mechanism behind publication, reception and canon - isation influences teaching practices and the construction of knowledge.
    [Show full text]
  • Dante's 'Strangeness': the Commedia and the Late Twentieth- Century Debate on the Literary Canon
    This is a repository copy of Dante's 'Strangeness': The Commedia and the Late Twentieth- Century Debate on the Literary Canon. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/74716/ Book Section: Pich, F (2010) Dante's 'Strangeness': The Commedia and the Late Twentieth-Century Debate on the Literary Canon. In: Gragnolati, M and Camilletti, F, (eds.) Metamorphosing Dante. Appropriations, Manipulations, and Rewritings in the Twentieth and Twenty-First Centuries. Turia + Kant , Berlin , 21 - 35 (14). ISBN 978-3-85132-617-8 Reuse See Attached Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ .&5".031)04*/(%"/5& "113013*"5*0/4 ."/*16-"5*0/4 "/%3&83*5*/(4 */5)&58&/5*&5)"/%58&/5:'*345$&/563*&4 &%*5&%#:."/6&-&(3"(/0-"5* '"#*0$".*--&55* "/%'"#*"/-".1"35 VERLAG TURIA + KANT WIEN–BERLIN Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Bibliographic information published by Die Deutsche Nationalbibliothek The Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ISBN 978-35132-617-8 Cover Design: Bettina Kubanek © by the authors © for this edition: Turia + Kant, 2010 VE RLAG TURI A + KANT A-1010 Wien, Schottengasse 3A/5/DG1 D-10827 Berlin, Crellestraße 14 [email protected] | www.turia.at $0/5&/54 .&5".031)04*/(%"/5& Fabio Camilletti, Manuele Gragnolati, Fabian Lampart .
    [Show full text]
  • Reading Literary Fiction and Theory of Mind
    Article Social Psychological and Personality Science 1-10 Reading Literary Fiction and Theory ª The Author(s) 2018 Reprints and permission: of Mind: Three Preregistered Replications sagepub.com/journalsPermissions.nav DOI: 10.1177/1948550618775410 and Extensions of Kidd and Castano (2013) journals.sagepub.com/home/spp David Kidd1 and Emanuele Castano2 Abstract Scholars from diverse disciplines have proposed that reading fiction improves intersubjective capacities. Experiments have yielded mixed evidence that reading literary fiction improves performance on the Reading the Mind in the Eyes Test, a test of Theory of Mind. Three preregistered experiments revealed mixed results. Applying the “small telescopes” method developed by Simonsohn revealed two uninformative failures to replicate and one successful replication. On a measure of the importance of intentions to moral judgments, results were more mixed, with one significant effect in the expected direction, one non- significant effect, and one significant effect in the unexpected direction. In addition, two experiments yielded support for the exploratory but preregistered hypothesis that characters in popular fiction are perceived as more predictable and stereotypic than those in literary fiction. These findings help clarify the sociocognitive effects of reading literary fiction and refine questions for future research. Keywords morality, reading, social cognition, sociocultural factors, theory of mind When I think about how I understand my role as citizen, setting depend on how authors depict social content (Kidd & Castano, aside being president, and the most important set of understandings 2013; Kidd & Castano, 2017a; Kidd, Ongis, & Castano, 2016). that I bring to that position of citizen, the most important stuff I’ve Encountering stereotypical (or stock) characters and formulaic learned I think I’ve learned from novels.
    [Show full text]