Titlebook: Narrative Pleasures in Young Adult Novels, Films and Video Games; Margaret Mackey Book 2011 Palgrave Macmillan, a division of Macmillan Pu

精密

Entering the Fiction: The Subjunctive and the Deictic Centre,res similarities and differences in how this act of imagination is . with different media. I suggest that exploring overlaps and contradictions in the invoking of make-believe in fictions presented in different media can enhance our understanding of all these media, and of the act of make-believe itself.

刪減

Nausea

Understanding Narrative Interpretation,ety of flat screens and even book pages), the social media game (such as Farmville — see Ebner, 2009, B6), and the wiki novel — among many others. How will we navigate this complex territory, bringing our astonishing repertoire of conventional understanding to bear on new ways of making stories?

Explosive

LIMIT

BRUNT

Thinking It Through: Theoretical Frameworks,rate behaviour are negotiated. This book occupies a territory that amounts to a small corner of this map. Overarching general theories about changing communications are important, but so are smaller-scale projects that attempt to improve our awareness of particular forms of understanding. In this st

Interstellar

Paying Attention: Provisional Observations and Inferences, that nobody can pay heed to everything all the time and they had to decide swiftly how to allocate their attention. In Judith Langer’s term, they had to establish ‘orientations . meaning’ (1995, p. 24, emphasis added). Wolfgang Iser talks about meaning as ‘something that happens’ (1978, p. 22). The

大漩渦

Entering the Fiction: The Subjunctive and the Deictic Centre,configure the question of narrative, the gamer, or the viewer or the reader ‘engages in an act of imagination’ (Ryan, 2007, p. 13), and my study explores similarities and differences in how this act of imagination is . with different media. I suggest that exploring overlaps and contradictions in the

Mindfulness

LAVE