Let's read! We will often find out this sentence everywhere. When still being a kid, mom used to order us to always read, so did the teacher. Some books are fully read in a week and we need the obligation to support reading. What about now? Do you still love reading? Is reading only for you who have obligation? Absolutely not! We here offer you a new book enPDFd the perception of the visual world to read.

The Perception of the Visual World. By James J. Gibson. U.S.A.: Houghton Mifflin Company, 1950 (George Allen & Unwin, Ltd., London). Price 35s.

Story and Discourse. Narrative Structure in Fiction and Film

Motor Cognition What Actions Tell the Self

"Harman's style often evokes that of a William James merged with the spirit of H.P. Lovecraft." Olivier Surel in Actu Philosophia In this book the metaphysical system of Graham Harman is presented in lucid form, aided by helpful diagrams. In Chapter 1, Harman gives his most forceful critique to date of philosophies that reject objects as a primary reality. All such rejections are tainted by either an "undermining" or "overmining" approach to objects. In Chapters 2 and 3, he reviews his concepts of sensual and real objects. In the process, he attacks the prestige normally granted to philosophies of human access, which Harman links for the first time to the already discredited "Menos Paradox." In Chapters 4 through 7, Harman brings the reader up to speed on his interpretation of Heidegger, which culminates in a fourfold structure of objects linked by indirect causation. In Chapter 8, he speculates on the implications of this theory for the debate over panpsychism, which Harman both embraces and rejects. In Chapters 9 and 10, he introduces the term "ontography" as the study of the different possible permutations of objects and qualities, which he simplifies with easily remembered terminology drawn from standard playing cards.

The Quadruple Object

Homo Aestheticus: Where Art Comes from and Why

Culture and Explosion is the English translation of the final book written by legendary semiotician Juri Lotman. The volume demonstrates, with copious examples, how culture influences the way that humans experience ""reality"". Lotman's renowned erudition is showcased in a host of well-chosen illustrations from history, literature, art and right across the humanities. Now appearing in English for the very first time, the volume is made accessible to students and researchers in semiotics, cultural/literary studies and Russian studies worldwide, as well as anyone with an interest in understanding contemporary intellectual life.

Culture and Explosion

Introduction: Models and metaphors Possible worlds and modeling systems Time, space, and point of view as constitutive elements of the textual world Nabokov as a writer and a scientist: "natural" and "artificial" patterns Part I. The Models of Time The specious present: time as a "hollow" The spiral or the circle: Mary 1. Involution and metamorphosis 2. The triple dream 3. Nietzsche's circle of the eternal return 4. Time and double vision in Proust and Nabokov 5. Bergson's spiral of memory Tempus reversus Time and eternity: aevum Part II. The Model of the Observer The observer and the point of view Vision and word: the seat of a semiotic conflict 1. H. James: The Turn of the Screw 2. V. Nabokov: The Eye 3. A. Hitchcock: Rear Window Frame, motion and the observer Part III. The Models of Vision Automatism and disturbed vision Inhibition and artistic failure Camera obscura Nabokov's visual devices Part IV. The Doubles and Mirrors PartV. Multidimensional Worlds The outside and the inside Bend Sinister as a multilayer dream The worlds of seduction: Lolita Conclusion Bibliography Index

The models of space, time and vision in V. Nabokov's fiction : narrative strategies and cultural frames

Extending narratological analysis to media as varied as graphic novels, photography, television, musicals, computer games and advertising, the essays gathered in this volume address some of the most fundamental questions raised by the medial turn in narratology: how can narrative meaning be created in media other than language; how do different types of signs collaborate with each other in so-called; multimodal works'; and, what new forms of narrativity are made possible by the emergence of digital media.

Intermediality and storytelling

In recent years, American television has embraced a model of narrative complexity that has proven to be both artistically innovative and fi nancially lucrative. Dozens of series across genres, from comedies like Seinfeld and Arrested Development to dramas like Buffy the Vampire Slayer and 24, have explored serialized forms and non-conventional storytelling strategies such as intertwined fl ashbacks and shifting narrative perspectives that had previously been quite rare within mainstream American television. Serialized television has emerged as a vibrant artistic form that many critics suggest rivals previous models of long-form narrative, such as 19th century novels. Television’s poetics of narrative complexity are wide ranging. Series embrace a balance between episodic and serial form, allowing for partial closure within episodes while maintaining broad narrative arcs across episodes and even seasons. Such programs also embrace more elaborate storytelling techniques, such as temporal play, shifting perspectives and focalization, repetition, and overt experimentation with genre and narrative norms. Many contemporary programs are more refl exive in their narration, embracing an operational aesthetic, encouraging viewers to pay attention to the level of narrative discourse as well as the storyworld. In all of these instances, narratively complex television programs both demand that viewers pay attention more closely than typical for the medium, and allow for viewers to experience more confusion in their process of narrative comprehension. In short, television has become more diffi cult to understand, requiring viewers to engage more fully as attentive viewers (see Mittell 2006). In this essay, I want to explore how complex serials strategically trigger, confound, and play with viewers’ memories, considering how television storytelling strategies fi t with our understanding of the cognitive mechanics of memory and highlighting the poetic techniques that programs use to engage viewers and enable long-term comprehension. The television medium employs specifi c strategies distinct from other narrative

Previously On: Prime Time Serials and the Mechanics of Memory

According to popular definition, the subject matter of fiction is invention, whereas nonfiction relies on factual ("real-world") data. Recent developments in cognitive narratology (Ryan, Fludernik, Jahn, Herman) considerably reduce the value of sharp distinction between fiction and nonfiction, however. The concepts of "frame", "schema" and "script" provide a link between the "real-life" and "fictional" experience. As Pierre Ouellet observes, the "real-life" knowledge contains a signifi cant number of propositions that are taken for granted and are employed by the com munity or individuals either intuitively (as rules of thumb) or rationally as "shortcuts" of experience; these often do not withstand critical scrutiny and may qualify as "natural fictions" based solely on the immediacy and fullness of belief. From this perspective, fiction is continuous with accepted opinions, stereotypes and other components of folk knowledge (i.e. beliefs used as "default knowledge") that people rely on in everyday life. My hypothesis is that certain types of modernist and postmodernist self-reflexive fiction paradoxically provoke focused schema-consis tent reading and foreground stereotype frames to alleviate the cognitive load that schema-inconsistent information presents to the reader. In this case naturalizing reading and focusing on the commonsense frames as secure and reliable as com pared with the strange or indeterminate data beyond the frame is provocatively sup ported by the text itself; however, if sustained, it leads to impoverished interpretation of the events and diminishes the cognitive effect of inconsistent data.

Marina Grishakova

Papers

Culture and Explosion

The models of space, time and vision in V. Nabokov's fiction : narrative strategies and cultural frames

Intermediality and storytelling

Previously On: Prime Time Serials and the Mechanics of Memory

Beyond the Frame: Cognitive Science, Common Sense and Fiction