000			03152nam a22003017a 4500
005			20220228113002.0
008			220228b |||||||| |||| 00| 0 eng d
020			_a9780197539576
028			_a:Zafaa Books & Distributors _b:313/56F 49A, Anand Nagar Inderlok Delhi 110035 _c:ZBD0776 _d:21/02/2022
100			_aHogan, Patrick Colm
245			_aStyle in Narrative _b: aspects of an affective-cognitive stylistics _c/ Patrick Colm Hogan
260			_aNew York _b:Oxford University Press, _c©2021
300			_aix, 303 pages _c24cm.
365			_b6854
490			_aCognition and poetics.
505			_aIntroduction: 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
520			_aStyle 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
650			_a Literature
650			_aRhetoric and collections of literary texts from more than two literatures
650			_aLanguage and languages -- Style -- Psychological aspects.
650			_aNarration (Rhetoric)
650			_aLiterary style.
650			_aStyle Philosophy
650			_aDiscourse analysis, Narrative.
650			_aLiterary style
700			_a Hogan, Patrick Colm
942			_cBOOK
999			_c58798 _d58798