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Taking its cues from both classical and post-classical
narratologies, this study explores both forms and functions of the
representation of dementia in Anglophone fictions. Initially,
dementia is conceptualised as a narrative-epistemological paradox:
The more those affected know what it is like to have dementia, the
less they can tell about it. Narrative fiction is the only
discourse that provides an imaginative glimpse at the subjective
experience of dementia in language. The narratological modelling of
four 'narrative modes' elaborates how the paradox becomes
productive in fiction: Depending on the narrative perspective
taken, but also on the type of narration, the technique for
representing consciousness and the epistemic strategy of narrating
dementia, the respective narrative modes come with different
prerequisites and possibilities for narrating dementia. The
analysis of four contemporary Anglophone dementia fictions based on
the developed model reveals their potential functions: Fiction
allows readers to learn about the challenges of dementia, grants
them perspective-taking, it trains cognitive flexibility, and
explores the meaning of memory, knowledge, narrative and
imagination, and thus also offers trajectories of a cultural coping
with dementia.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
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