TY - BOOK AU - Hogan, Patrick Colm AU - Hogan, Patrick Colm TI - Style in Narrative : : aspects of an affective-cognitive stylistics T2 - Cognition and poetics SN - 9780197539576 PY - 2021/// CY - New York PB - :Oxford University Press KW - Literature KW - Rhetoric and collections of literary texts from more than two literatures KW - Language and languages -- Style -- Psychological aspects KW - Narration (Rhetoric) KW - Literary style KW - Style Philosophy KW - Discourse analysis, Narrative N1 - Introduction: cognitive and affective stylistics -- Literary style -- Story structure: Shakespeare and the integration of genres -- Verbal narration: ambiguities of Faulkner's As I Lay Dying -- Film style -- Perceptual interface and painterly cinema: three minutes of Robert Rodriguez's Sin City -- Emplotment: ellipsis and excess in Yasujiro Ozu's postwar films -- Visual narration: embodiment and point of view in Lu Chuan's Nanjing! Nanjing! -- Sylistic choices in graphic narrative: particularity and its functions in Art Spiegelman's Maus -- Keep stylistics great: a note on politics and the analysis of style N2 - Style has often been understood both too broadly and too narrowly. In consequence, it has not defined a psychologically coherent area of study. In the opening chapter, Hogan first defines style so as to make possible a consistent and systematic theoretical account of the topic in relation to cognitive and affective science. Hogan illustrates the main points of the first, theoretical chapter by reference to several works, prominently Woolf's Mrs. Dalloway. Subsequent chapters in Part I focus on some under-researched aspects of literary style. Specifically, the second chapter explores the level of story construction for the scope of an authorial canon, treating Shakespeare. The third chapter turns to verbal narration in a single work, Faulkner's As I Lay Dying. Part II, on film style, begins with a theoretical chapter on film style. It turns, in chapter 5, to the perceptual interface in the genre of "painterly" films (films that draw on stylistic features of other visual arts), examining works by Rodriguez, Mehta, Rohmer, and Husain. The sixth chapter treats the level of plot in the postwar films of Ozu. The remaining film chapter turns to visual narration in a single work, Lu's Nanjing! Nanjing! The third part comprises a single chapter. It addresses theoretical and interpretive issues bearing on style in graphic fiction, with a focus on Spiegelman's Maus. An Afterword touches briefly on some possible implications of stylistic analysis for political critique ER -