When readers become victims of the murder mysteries they are immersed in, when superheroes embark on a quest to challenge their authors or when the fictional rock band Gorillaz flirt with Madonna during their performance, then metalepsis in popular culture occurs. Metalepsis describes the transgression of the boundary between the fictional world and (a representation of) the real world. This volume establishes a transmedial definition of metalepsis and explores the phenomenon in twelve case studies across media and genres of popular culture: from film, TV series, animated cartoons, graphic novels and popular fiction to pop music, music videos, holographic projections and fan cultures. Narrative studies have considered metalepsis so far largely as a phenomenon of postmodern or avant-garde literature. Metalepsis in Popular Culture investigates metalepsis' ties to the popular and traces its transmedial importance through a wealth of examples from the turn of the 20th century to this day. The articles also address larger issues such as readerly immersion, the appeal of complexity in popular culture, or the negotiation of fiction and reality in media, and invite readers to rethink these issues through the prism of metalepsis.

Sheds new light on European and regional book markets, the development of a public sphere and the impact of new media on intellectual, social, religious and political change. How do you become a citizen? Ever since printing was introduced, being a member of society increasingly involved reading and writing: for sociability and belonging, instruction and entertainment, profit and charity, spiritual awakening and political debate. Literary practices shaped and changed identities and the organisation of society during the Long Eighteenth Century. In Scandinavia, this happened locally, as well as transnationally - reading, writing and producing texts involved entanglements within and beyond the borders of the Northern European periphery of Norway, Denmark and Sweden. Focusing on 'literary citizenship', this volume uncovers the different ways in which engagements with print have mediated and established networks and communities, identities and agencies of multiple sorts in an interconnected media landscape. The result is a complex and intriguing history of the book in the Scandinavian region. This history is, on the one hand, influenced by a European market and tradition. On the other hand, it offers an important and different case of regional and local adaptation, marked by what has been termed a 'Northern Enlightenment'. This book will be of interest to scholars of European enlightenment studies and to those who are interested in the continuing debates surrounding print culture and history. This book is available as Open Access under the Creative Commons license CC-BY-NC. This book and the research upon which it is based was supported by funds from The Research Council of Norway and the National Library of Norway. CONTRIBUTORS: Jens Bjerring-Hansen, Jon Haarberg, Ruth Hemstad, Thor Inge Rørvik, Ellen Krefting, Karin Kukkonen, Ulrik Langen, Aina Nøding, Jonas Nordin, James Raven, Janicke S. Kaasa, Karen Skovgaard-Petersen, Frederik Stjernfelt, Iver Tangen Stensrud and Jonas Thorup Thomsen.

When the novel broke into cultural prominence in the eighteenth century, it became notorious for the gripping, immersive style of its narratives. In this book, Karin Kukkonen explores this phenomenon through the embodied style in Eliza Haywood's flamboyant amatory fiction, Charlotte Lennox's work as a cultural broker between Britain and France, Sarah Fielding's experimental novels, and Frances Burney's practice of life-writing and fiction-writing. Four female authors who are often written out of the history of the genre are here foregrounded in a critical account that emphasizes the importance of engaging readers' minds and bodies, and which invites us to revisit our understanding of the rise of the modern novel. Kukkonen's innovative theoretical approach is based on the approach of 4E cognition, which views thinking as profoundly embodied and embedded in social and material contexts, extending into technologies and material devices (such as a pen), and enactive in the inherent links between perceiving the world and moving around in it. 4E Cognition and Eighteenth-Century Fiction investigates the eighteenth-century novel through each of these trajectories and shows how language explores its embodied dimension by increasing the descriptions of inner perception, or the bodily gestures around spoken dialogue. The embodied dimension is then related to the media ecologies of letter-writing, book learning, and theatricality. As the novel feeds off and into these social and material contexts, it comes into its own as a lifeworld technology that might not answer to standards of nineteenth-century realism but that feels 'real' because it is integrated into the lifeworld and embodied experiences. 4E cognition answers one of the central challenges to cognitive literary studies: how to integrate historical and cultural contexts into cognitive approaches.

This introduction to studying comics and graphic novels is a structured guide to a popular topic. It deploys new cognitive methods of textual analysis and features activities and exercises throughout. * Deploys novel cognitive approaches to analyze the importance of psychological and physical aspects of reader experience * Carefully structured to build a sequenced, rounded introduction to the subject * Includes study activities, writing exercises, and essay topics throughout * Dedicated chapters cover popular sub-genres such as autobiography and literary adaptation

This study provides an introduction to the neoclassical debates around how literature is shaped in concert with the thinking and feeling human mind. Three key rules of neoclassicism, namely, poetic justice (the rewards and punishments of characters in the plot), the unities (the coherence of the fictional world and its extensions through the imagination) and decorum (the inferential connections between characters and their likely actions), are reconsidered in light of social cognition, embodied cognition and probabilistic, predictive cognition. The meeting between neoclassical criticism and today's research psychology, neurology and philosophy of mind yields a new perspective for cognitive literary study. Neoclassicism has a crucial contribution to make to current debates around the role of literature in cultural and cognition. Literary critics writing at the time of the scientific revolution developed a perspective on literature the question of how literature engages minds and bodies as its central concern. A Prehistory of Cognitive Poetics traces the cognitive dimension of these critical debates in seventeenth- and eighteenth-century Britain and puts them into conversation with today's cognitive approaches to literature. Neoclassical theory is then connected to the praxis of eighteenth-century writers in a series of case studies that trace how these principles shaped the emerging narrative form of the novel. The continuing relevance of neoclassicism also shows itself in the rise of the novel, as A Prehistory of Cognitive Poetics illustrates through examples including Pamela, Tom Jones and the Gothic novel.

What if fairy-tale characters lived in New York City? What if a superhero knew he was a fictional character? What if you could dispense your own justice with one hundred untraceable bullets? These are the questions asked and answered in the course of the challenging storytelling in "Fables," "Tom Strong," and "100 Bullets," the three twenty-first-century comics series that Karin Kukkonen considers in depth in her exploration of how and why the storytelling in comics is more than merely entertaining.

Applying a cognitive approach to reading comics in all their narrative richness and intricacy, "Contemporary Comics Storytelling" opens an intriguing perspective on how these works engage the legacy of postmodernism--its subversion, self-reflexivity, and moral contingency. Its three case studies trace how contemporary comics tie into deep traditions of visual and verbal storytelling, how they reevaluate their own status as fiction, and how the fictional minds of their characters generate complex ethical thought experiments. At a time when the medium is taken more and more seriously as intricate and compelling literary art, this book lays the groundwork for an analysis of the ways in which comics challenge and engage readers' minds. It brings together comics studies with narratology and literary criticism and, in so doing, provides a new set of tools for evaluating the graphic novel as an emergent literary form.