Karin Kukkonen – författare

Litteraturvetenskap II fördjupar och breddar kunskaperna om olika teorier och metoder inom det litteraturvetenskapliga forskningsområdet. Boken omfattar tolv kapitel, skrivna av specialister inom olika litteraturvetenskapliga fält. Syftet är bland annat att ge vägledning och inspiration för studenter som planerar att skriva en påbyggnadsuppsats.Kapitlen behandlar sedan länge etablerade fält inom litteraturforskningen som textkritik, studier av självframställning och autofiktion, populärlitteratur, forskning kring kön, genus och etnicitet, litteraturdidaktik, psykoanalytiska perspektiv och diskursanalys. I boken finns också översikter av områden som har diskuteras särskilt under de senaste åren: queerstudier, medieteori, kognitionsforskning, samt digital humaniora och fjärrläsning. Denna andra upplaga är reviderad och innehåller ett nyskrivet kapitel om uppsatsskrivning.Litteraturvetenskap II vänder sig främst till studenter på avancerad nivå inom litteraturvetenskap och lärarutbildningens litteraturkurser. Syskonvolymen Litteraturvetenskap I är avsedd för studenter på grundläggande nivå.

This introduction to studying comics and graphic novels is a structured guide to a popular topic. It deploys new cognitive methods of textual analysis and features activities and exercises throughout. Deploys novel cognitive approaches to analyze the importance of psychological and physical aspects of reader experienceCarefully structured to build a sequenced, rounded introduction to the subjectIncludes study activities, writing exercises, and essay topics throughoutDedicated chapters cover popular sub-genres such as autobiography and literary adaptation

In Probability Designs, Karin Kukkonen proposes a new perspective on the complex role of predictions and probabilities in the dynamics of literary narrative. Predictive processing, an emerging account of cognition in neuroscience, psychology, and philosophy, provides the theoretical backdrop for an investigation of how literary texts shape readers' expectations and experience. Through deft analysis of the literary canon in a variety of cultures and languages, she constructs a comprehensive model of probability in a novel's plots, immersive appeal, and potential for reflection. Linking predictive processing to the idea that culture and cognition always develop in tandem, Kukkonen then sketches a place for literature and literary form in this exchange - a mode of exploratory thinking that takes language and writing to the next level.Chance encounters, last-minute rescues, and coincidences launch Kukkonen's investigation of the literary manipulation of predictions. Through an enlightening blend of cognitive sciences and literary theory, Probability Designs enriches scholarly debates in literary studies and sheds light on how vital literature is for human thought.

In Probability Designs, Karin Kukkonen proposes a new perspective on the complex role of predictions and probabilities in the dynamics of literary narrative. Predictive processing, an emerging account of cognition in neuroscience, psychology, and philosophy, provides the theoretical backdrop for an investigation of how literary texts shape readers'' expectations and experience. Through deft analysis of the literary canon in a variety of cultures and languages, she constructs a comprehensive model of probability in a novel''s plots, immersive appeal, and potential for reflection. Linking predictive processing to the idea that culture and cognition always develop in tandem, Kukkonen then sketches a place for literature and literary form in this exchange - a mode of exploratory thinking that takes language and writing to the next level.Chance encounters, last-minute rescues, and coincidences launch Kukkonen''s investigation of the literary manipulation of predictions. Through an enlightening blend of cognitive sciences and literary theory, Probability Designs enriches scholarly debates in literary studies and sheds light on how vital literature is for human thought.

In Probability Designs, Karin Kukkonen proposes a new perspective on the complex role of predictions and probabilities in the dynamics of literary narrative. Predictive processing, an emerging account of cognition in neuroscience, psychology, and philosophy, provides the theoretical backdrop for an investigation of how literary texts shape readers'' expectations and experience. Through deft analysis of the literary canon in a variety of cultures and languages, she constructs a comprehensive model of probability in a novel''s plots, immersive appeal, and potential for reflection. Linking predictive processing to the idea that culture and cognition always develop in tandem, Kukkonen then sketches a place for literature and literary form in this exchange - a mode of exploratory thinking that takes language and writing to the next level.Chance encounters, last-minute rescues, and coincidences launch Kukkonen''s investigation of the literary manipulation of predictions. Through an enlightening blend of cognitive sciences and literary theory, Probability Designs enriches scholarly debates in literary studies and sheds light on how vital literature is for human thought.

This study provides an introduction to the neoclassical debates around how literature is shaped in concert with the thinking and feeling human mind. Three key rules of neoclassicism, namely, poetic justice (the rewards and punishments of characters in the plot), the unities (the coherence of the fictional world and its extensions through the imagination) and decorum (the inferential connections between characters and their likely actions), are reconsidered in light of social cognition, embodied cognition and probabilistic, predictive cognition. The meeting between neoclassical criticism and today's research psychology, neurology and philosophy of mind yields a new perspective for cognitive literary study.Neoclassicism has a crucial contribution to make to current debates around the role of literature in cultural and cognition. Literary critics writing at the time of the scientific revolution developed a perspective on literature the question of how literature engages minds and bodies as its central concern. A Prehistory of Cognitive Poetics traces the cognitive dimension of these critical debates in seventeenth- and eighteenth-century Britain and puts them into conversation with today's cognitive approaches to literature.Neoclassical theory is then connected to the praxis of eighteenth-century writers in a series of case studies that trace how these principles shaped the emerging narrative form of the novel. The continuing relevance of neoclassicism also shows itself in the rise of the novel, as A Prehistory of Cognitive Poetics illustrates through examples including Pamela, Tom Jones and the Gothic novel.

This study provides an introduction to the neoclassical debates around how literature is shaped in concert with the thinking and feeling human mind. Three key rules of neoclassicism, namely, poetic justice (the rewards and punishments of characters in the plot), the unities (the coherence of the fictional world and its extensions through the imagination) and decorum (the inferential connections between characters and their likely actions), are reconsidered in light of social cognition, embodied cognition and probabilistic, predictive cognition. The meeting between neoclassical criticism and today''s research psychology, neurology and philosophy of mind yields a new perspective for cognitive literary study.Neoclassicism has a crucial contribution to make to current debates around the role of literature in cultural and cognition. Literary critics writing at the time of the scientific revolution developed a perspective on literature the question of how literature engages minds and bodies as its central concern. A Prehistory of Cognitive Poetics traces the cognitive dimension of these critical debates in seventeenth- and eighteenth-century Britain and puts them into conversation with today''s cognitive approaches to literature.Neoclassical theory is then connected to the praxis of eighteenth-century writers in a series of case studies that trace how these principles shaped the emerging narrative form of the novel. The continuing relevance of neoclassicism also shows itself in the rise of the novel, as A Prehistory of Cognitive Poetics illustrates through examples including Pamela, Tom Jones and the Gothic novel.

This study provides an introduction to the neoclassical debates around how literature is shaped in concert with the thinking and feeling human mind. Three key rules of neoclassicism, namely, poetic justice (the rewards and punishments of characters in the plot), the unities (the coherence of the fictional world and its extensions through the imagination) and decorum (the inferential connections between characters and their likely actions), are reconsidered in light of social cognition, embodied cognition and probabilistic, predictive cognition. The meeting between neoclassical criticism and today''s research psychology, neurology and philosophy of mind yields a new perspective for cognitive literary study.Neoclassicism has a crucial contribution to make to current debates around the role of literature in cultural and cognition. Literary critics writing at the time of the scientific revolution developed a perspective on literature the question of how literature engages minds and bodies as its central concern. A Prehistory of Cognitive Poetics traces the cognitive dimension of these critical debates in seventeenth- and eighteenth-century Britain and puts them into conversation with today''s cognitive approaches to literature.Neoclassical theory is then connected to the praxis of eighteenth-century writers in a series of case studies that trace how these principles shaped the emerging narrative form of the novel. The continuing relevance of neoclassicism also shows itself in the rise of the novel, as A Prehistory of Cognitive Poetics illustrates through examples including Pamela, Tom Jones and the Gothic novel.

When the novel broke into cultural prominence in the eighteenth century, it became notorious for the gripping, immersive style of its narratives. In this book, Karin Kukkonen explores this phenomenon through the embodied style in Eliza Haywood's flamboyant amatory fiction, Charlotte Lennox's work as a cultural broker between Britain and France, Sarah Fielding's experimental novels, and Frances Burney's practice of life-writing and fiction-writing. Four female authors who are often written out of the history of the genre are here foregrounded in a critical account that emphasizes the importance of engaging readers' minds and bodies, and which invites us to revisit our understanding of the rise of the modern novel. Kukkonen's innovative theoretical approach is based on the approach of 4E cognition, which views thinking as profoundly embodied and embedded in social and material contexts, extending into technologies and material devices (such as a pen), and enactive in the inherent links between perceiving the world and moving around in it. 4E Cognition and Eighteenth-Century Fiction investigates the eighteenth-century novel through each of these trajectories and shows how language explores its embodied dimension by increasing the descriptions of inner perception, or the bodily gestures around spoken dialogue. The embodied dimension is then related to the media ecologies of letter-writing, book learning, and theatricality. As the novel feeds off and into these social and material contexts, it comes into its own as a lifeworld technology that might not answer to standards of nineteenth-century realism but that feels 'real' because it is integrated into the lifeworld and embodied experiences.4E cognition answers one of the central challenges to cognitive literary studies: how to integrate historical and cultural contexts into cognitive approaches.

When the novel broke into cultural prominence in the eighteenth century, it became notorious for the gripping, immersive style of its narratives. In this book, Karin Kukkonen explores this phenomenon through the embodied style in Eliza Haywood''s flamboyant amatory fiction, Charlotte Lennox''s work as a cultural broker between Britain and France, Sarah Fielding''s experimental novels, and Frances Burney''s practice of life-writing and fiction-writing. Four female authors who are often written out of the history of the genre are here foregrounded in a critical account that emphasizes the importance of engaging readers'' minds and bodies, and which invites us to revisit our understanding of the rise of the modern novel.Kukkonen''s innovative theoretical approach is based on the approach of 4E cognition, which views thinking as profoundly embodied and embedded in social and material contexts, extending into technologies and material devices (such as a pen), and enactive in the inherent links between perceiving the world and moving around in it. 4E Cognition and Eighteenth-Century Fiction investigates the eighteenth-century novel through each of these trajectories and shows how language explores its embodied dimension by increasing the descriptions of inner perception, or the bodily gestures around spoken dialogue. The embodied dimension is then related to the media ecologies of letter-writing, book learning, and theatricality. As the novel feeds off and into these social and material contexts, it comes into its own as a lifeworld technology that might not answer to standards of nineteenth-century realism but that feels ''real'' because it is integrated into the lifeworld and embodied experiences.4E cognition answers one of the central challenges to cognitive literary studies: how to integrate historical and cultural contexts into cognitive approaches.

When the novel broke into cultural prominence in the eighteenth century, it became notorious for the gripping, immersive style of its narratives. In this book, Karin Kukkonen explores this phenomenon through the embodied style in Eliza Haywood''s flamboyant amatory fiction, Charlotte Lennox''s work as a cultural broker between Britain and France, Sarah Fielding''s experimental novels, and Frances Burney''s practice of life-writing and fiction-writing. Four female authors who are often written out of the history of the genre are here foregrounded in a critical account that emphasizes the importance of engaging readers'' minds and bodies, and which invites us to revisit our understanding of the rise of the modern novel.Kukkonen''s innovative theoretical approach is based on the approach of 4E cognition, which views thinking as profoundly embodied and embedded in social and material contexts, extending into technologies and material devices (such as a pen), and enactive in the inherent links between perceiving the world and moving around in it. 4E Cognition and Eighteenth-Century Fiction investigates the eighteenth-century novel through each of these trajectories and shows how language explores its embodied dimension by increasing the descriptions of inner perception, or the bodily gestures around spoken dialogue. The embodied dimension is then related to the media ecologies of letter-writing, book learning, and theatricality. As the novel feeds off and into these social and material contexts, it comes into its own as a lifeworld technology that might not answer to standards of nineteenth-century realism but that feels ''real'' because it is integrated into the lifeworld and embodied experiences.4E cognition answers one of the central challenges to cognitive literary studies: how to integrate historical and cultural contexts into cognitive approaches.

What if fairy-tale characters lived in New York City? What if a superhero knew he was a fictional character? What if you could dispense your own justice with one hundred untraceable bullets? These are the questions asked and answered in the course of the challenging storytelling in Fables, Tom Strong, and 100 Bullets, the three twenty-first-century comics series that Karin Kukkonen considers in depth in her exploration of how and why the storytelling in comics is more than merely entertaining. Applying a cognitive approach to reading comics in all their narrative richness and intricacy, Contemporary Comics Storytelling opens an intriguing perspective on how these works engage the legacy of postmodernism—its subversion, self-reflexivity, and moral contingency. Its three case studies trace how contemporary comics tie into deep traditions of visual and verbal storytelling, how they reevaluate their own status as fiction, and how the fictional minds of their characters generate complex ethical thought experiments. At a time when the medium is taken more and more seriously as intricate and compelling literary art, this book lays the groundwork for an analysis of the ways in which comics challenge and engage readers' minds. It brings together comics studies with narratology and literary criticism and, in so doing, provides a new set of tools for evaluating the graphic novel as an emergent literary form.

This introduction to studying comics and graphic novels is a structured guide to a popular topic. It deploys new cognitive methods of textual analysis and features activities and exercises throughout.

Deploys novel cognitive approaches to analyze the importance of psychological and physical aspects of reader experience Carefully structured to build a sequenced, rounded introduction to the subject Includes study activities, writing exercises, and essay topics throughout Dedicated chapters cover popular sub-genres such as autobiography and literary adaptation

This introduction to studying comics and graphic novels is a structured guide to a popular topic. It deploys new cognitive methods of textual analysis and features activities and exercises throughout.

Deploys novel cognitive approaches to analyze the importance of psychological and physical aspects of reader experience Carefully structured to build a sequenced, rounded introduction to the subject Includes study activities, writing exercises, and essay topics throughout Dedicated chapters cover popular sub-genres such as autobiography and literary adaptation

The first book to investigate, analyze and theorize the creative processes of literary writers, Creativity and Contingency in Literary Writing uses author interviews, manuscript genetics and textual evidence to explore creativity from the authorial perspective. Studying an author’s practice, literary form and contextual contingencies as elements that affect literary creativity, Karin Kukkoken develops theoretical models for examining the age-old problem of artistic creation and how it has been put to works by authors from the nineteenth century to the age of digital fiction, across a range of languages. With insights from the cognitive sciences, anthropology and philosophy of mind as well as literary studies, the book calls upon interviews with Siri Hustvedt, Marina Warner, Anne Weber, Camille Laurens, Gwenaëlle Aubry, Kate Pullinger, Gunnhild Øyehaug, Maria Stepanova and György Dragomán and studies the manuscripts of Charlotte Brontë, Cora Sandel, Elsa Morante and Italo Calvino.Overcoming the traditional distinction between creative agent, process and creative product, Creativity and Contingency in Literary Writing is as accessible and illuminating as it is important to understandings of human creativity.

The first book to investigate, analyze and theorize the creative processes of literary writers, Creativity and Contingency in Literary Writing uses author interviews, manuscript genetics and textual evidence to explore creativity from the authorial perspective. Studying an author's practice, literary form and contextual contingencies as elements that affect literary creativity, Karin Kukkoken develops theoretical models for examining the age-old problem of artistic creation and how it has been put to works by authors from the nineteenth century to the age of digital fiction, across a range of languages. With insights from the cognitive sciences, anthropology and philosophy of mind as well as literary studies, the book calls upon interviews with Siri Hustvedt, Marina Warner, Anne Weber, Camille Laurens, Gwena lle Aubry, Kate Pullinger, Gunnhild yehaug, Maria Stepanova and Gy rgy Dragom n and studies the manuscripts of Charlotte Bront , Cora Sandel, Elsa Morante and Italo Calvino.Overcoming the traditional distinction between creative agent, process and creative product, Creativity and Contingency in Literary Writing is as accessible and illuminating as it is important to understandings of human creativity.

The first book to investigate, analyze and theorize the creative processes of literary writers, Creativity and Contingency in Literary Writing uses author interviews, manuscript genetics and textual evidence to explore creativity from the authorial perspective. Studying an author's practice, literary form and contextual contingencies as elements that affect literary creativity, Karin Kukkoken develops theoretical models for examining the age-old problem of artistic creation and how it has been put to works by authors from the nineteenth century to the age of digital fiction, across a range of languages. With insights from the cognitive sciences, anthropology and philosophy of mind as well as literary studies, the book calls upon interviews with Siri Hustvedt, Marina Warner, Anne Weber, Camille Laurens, Gwena lle Aubry, Kate Pullinger, Gunnhild yehaug, Maria Stepanova and Gy rgy Dragom n and studies the manuscripts of Charlotte Bront , Cora Sandel, Elsa Morante and Italo Calvino.Overcoming the traditional distinction between creative agent, process and creative product, Creativity and Contingency in Literary Writing is as accessible and illuminating as it is important to understandings of human creativity.

When readers become victims of the murder mysteries they are immersed in, when superheroes embark on a quest to challenge their authors or when the fictional rock band Gorillaz flirt with Madonna during their performance, then metalepsis in popular culture occurs. Metalepsis describes the transgression of the boundary between the fictional world and (a representation of) the real world. This volume establishes a transmedial definition of metalepsis and explores the phenomenon in twelve case studies across media and genres of popular culture: from film, TV series, animated cartoons, graphic novels and popular fiction to pop music, music videos, holographic projections and fan cultures.Narrative studies have considered metalepsis so far largely as a phenomenon of postmodern or avant-garde literature. Metalepsis in Popular Culture investigates metalepsis’ ties to the popular and traces its transmedial importance through a wealth of examples from the turn of the 20th century to this day. The articles also address larger issues such as readerly immersion, the appeal of complexity in popular culture, or the negotiation of fiction and reality in media, and invite readers to rethink these issues through the prism of metalepsis.

When readers become victims of the murder mysteries they are immersed in, when superheroes embark on a quest to challenge their authors or when the fictional rock band Gorillaz flirt with Madonna during their performance, then metalepsis in popular culture occurs. Metalepsis describes the transgression of the boundary between the fictional world and (a representation of) the real world. This volume establishes a transmedial definition of metalepsis and explores the phenomenon in twelve case studies across media and genres of popular culture: from film, TV series, animated cartoons, graphic novels and popular fiction to pop music, music videos, holographic projections and fan cultures.

Narrative studies have considered metalepsis so far largely as a phenomenon of postmodern or avant-garde literature. Metalepsis in Popular Culture investigates metalepsis’ ties to the popular and traces its transmedial importance through a wealth of examples from the turn of the 20th century to this day. The articles also address larger issues such as readerly immersion, the appeal of complexity in popular culture, or the negotiation of fiction and reality in media, and invite readers to rethink these issues through the prism of metalepsis.