the line between history and literature, fact and fiction. Jablonka wrote the book in response to the pressures and tensions the humanities and social sciences were experiencing. However, while he advocated a literary approach to writing history, he
Literature and the Search for Truth
Imparting Ethno-aesthetic Knowledge in John Hawkesworth’s Report on Cook’s First Voyage to the South Pacific (1768–1771)
Hawkesworth’s, the concentration on the latter’s manipulation of ethno-aesthetic knowledge as generated on Cook’s first South Pacific voyage offers specific insights on the nexus of reconstruction, fiction, and knowledge transfer. The analysis will incorporate
experiments that are more likely to shed light on philosophical issues. I want to illustrate this point by considering work on fiction and emotion. Philosophical discussions of fiction and emotion frequently draw upon psychological research. There are two
The invitation to celebrate 30 years since the publication of Narration in the Fiction Film posed me two problems. The first was crossing half a world—but I immediately concluded that I must rejig the middle of my year around something as
The Uncanny Personhood of Humanoid Machines
animism in the creation and production of humanoid robots. I suggest that the concept of animism has broader applications in both ‘natural’ surroundings and the highly technological and experimental setting of robotics laboratories, where myth, fiction
the sections and a through-line of argument concerning the distinctiveness of “fiction film emotions” and the character of naturalistic methodology. Transparency, Embodied Simulation, and the “Skin-Screen” In his commentary, Vittorio Gallese sets out
Ageing in Some Recent Women's Fiction
‘“Oh, Nathan, aging”, she cried, as we embraced each other, “aging, aging– it is so very strange.”’ It is difficult for younger people to imagine what it is like to be an ageing person, particularly because, as Hagar Shipley, the protagonist and narrator of Margaret Laurence’s novel The Stone Angel, says, ‘Things never look the same from the outside as they do from the inside.’ Fiction, which specialises in presenting how things look from the inside, can help us to imagine the many subjective experiences of ageing. Fictions are like thought experiments or hypotheses. They represent the particularised individual person in his or her oddity and complexity. But in doing this, they are, of course, representing imagined and verbally constructed characters, not describing real people. Fictional characters reflect the desires, anxieties and obsessions of their authors as well as representational conventions, which in the novels I discuss here are those of psychological realism. Novels are not social science, of course, so they have no statistical weight and no automatic claims to validity.
perhaps unlikely group of readers—young women and teenage girls. Anne Boleyn has not only become the subject of an enthusiastic online fandom, but her story is now frequently retold in Young Adult (YA) historical fictions. Young Adult Fiction and Anne
Case Study of William Le Queux's The Invasion of 1910 – ‘Not an ordinary “pot-boiler”’
successful spy fiction that he wrote, Le Queux can be considered the quintessential invasion and spy scare author of the immediate pre-World War I (WWI) period. Of this body of work, The Invasion of 1910 , which imagined (in great detail) the ‘efficient
This article analyzes the psychological and neurological underpinnings of crime fiction and discusses the interrelation between cultural and biological-evolutionary determinants of fictions of detection. It argues that although crime fiction is a product of modern life conditions, it is also centrally fueled in the minds of viewers and readers by the mammalian dopamine seeking/wanting system developed for seeking out resources by foraging and hunting and important for focused mental and physical goal-directed activities. The article describes the way the working of the seeking system explains how crime fiction activates strong salience (in some respects similar to the effect of dopamine-drugs like cocaine, Ritalin, and amphetamine) and discusses the role of social intelligence in crime fiction. It further contrasts the unempathic classical detector fictions with two subtypes of crime fiction that blend seeking with other emotions: the hardboiled crime fiction that blends detection with action and hot emotions like anger and bonding, and the moral crime fiction that strongly evokes moral disgust and contempt, often in conjunction with detectors that perform hard to fake signals of moral commitment that make them role models for modern work ethics. The article is part of bio-cultural research that describes how biology and culture interact as argued in Grodal's Embodied Visions.