Paul B. Armstrong – författare

This edition includes a newly edited text based on the 1902 edition. Textual History and Editing Principles provides an overview of the controversies and ambiguities surrounding Heart of Darkness. Included are background and source materials, and contemporary responses to the novella along with essays in criticism, including a new section on film adaptations.

The Challenge of Bewilderment treats the epistemology of representation in major works by Henry James, Joseph Conrad, and Ford Madox Ford, attempting to explain how the novel turned away from its traditional concern with realistic representation and toward self-consciousness about the relation between knowing and narration. Paul B. Armstrong here addresses the pivotal thematic experience of "bewilderment," an experience that challenges the reader's very sense of reality and that shows it to have no more certainty or stability than an interpretative construct. Through readings of The Sacred Fount and The Ambassadors by James, Lord Jim and Nostromo by Conrad, and The Good Soldier and Parade's End by Ford, Armstrong examines how each writer dramatizes his understanding of the act of knowing. Armstrong demonstrates how the novelists' attitudes toward the process of knowing inform experiments with representation, through which they thematize the relation between the understanding of a fictional world and everyday habits of perception. Finally, he considers how these experiments with the strategies of narration produce a heightened awareness of the process of interpretation.

"Classrooms and curricula should be structured to foster the playful interaction that can teach students how to negotiate social and political differences in an emancipatory, noncoercive manner.... Teaching reading as a playful exercise of reciprocity with otherness can help prepare students for a democracy understood as a community of communities."—from the "Pedagogical Postscript"Reading is socially useful, in Paul B. Armstrong's view, and can model democratic interaction by a community unconstrained by the need to build consensus but aware of the dangers of violence, irrationality, and anarchy. Reading requires mutual recognition but need not culminate in agreement, Armstrong says; instead, the social potential of reading arises from the active exchange of attitudes, ideas, and values between author and reader and among readers. Play and the Politics of Reading, which has important implications for education, draws on Wolfgang Iser's notion of free play to offer a valuable response to social problems.Armstrong finds that Joseph Conrad, E. M. Forster, Henry James, and James Joyce provide apt examples of the politics of reading, for reasons both literary and political. In making the transition from realism to modernism, these authors experimented with narrative strategies that seek simultaneously to represent the world and to question the means of representation itself. The formal ambiguities and complexities of such texts as Howards End and Ulysses are ways of staging for the reader the difficulties and opportunities of a world of differences. Innovative formal structures challenge readers to reconsider their assumptions and beliefs about social issues.

Armstrong argues that conflicting readings occur because readers with opposing suppositions about language, literature, and life can generate irreconcilable hypotheses about a text. Without endorsing a particular critical methodology, the author offers a theory designed to help readers better understand the causes and consequences of interpretive disagreement so that they may make more informed choices about the various interpretive strategies available to them.Originally published in 1990. A UNC Press Enduring Edition - UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Armstrong suggests that James's perspective is essentially phenomenological--that his understanding of the process of knowing, the art of fiction, and experience as a whole coincides in important ways with the ideas of the leading phenomenologists. He examines the connections between phenomenology's theory of consciousness and existentialism's analyses of the lived world in relation to James's fascination with consciousness and what is commonly called his A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

"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?

This book explains how the brain interacts with the social world—and why stories matter.How do our brains enable us to tell and follow stories? And how do stories affect our minds? In Stories and the Brain, Paul B. Armstrong analyzes the cognitive processes involved in constructing and exchanging stories, exploring their role in the neurobiology of mental functioning. Armstrong argues that the ways in which stories order events in time, imitate actions, and relate our experiences to others' lives are correlated to cortical processes of temporal binding, the circuit between action and perception, and the mirroring operations underlying embodied intersubjectivity. He reveals how recent neuroscientific findings about how the brain works—how it assembles neuronal syntheses without a central controller—illuminate cognitive processes involving time, action, and self-other relations that are central to narrative.An extension of his previous book, How Literature Plays with the Brain, this new study applies Armstrong's analysis of the cognitive value of aesthetic harmony and dissonance to narrative. Armstrong explains how narratives help the brain negotiate the neverending conflict between its need for pattern, synthesis, and constancy and its need for flexibility, adaptability, and openness to change. The neuroscience of these interactions is part of the reason stories give shape to our lives even as our lives give rise to stories.Taking up the age-old question of what our ability to tell stories reveals about language and the mind, this truly interdisciplinary project should be of interest to humanists and cognitive scientists alike.