@article {476,
	title = {Brion Gysin, cut-ups, and contemporary painting: Narrating experience},
	journal = {Frontiers of Narrative Studies},
	volume = {4},
	year = {2018},
	month = {2018///},
	pages = {s126 - s145},
	abstract = {In the early 1960 s Brion Gysin, while experimenting in various genres and media, {\textquotedblleft}re-invented{\textquotedblright} the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts{\textquoteright} or visuals{\textquoteright} fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon {\textquotedblleft}natural{\textquotedblright} narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also have no content. As there are no consistent and coherent story in cut-ups, there could be difficult for the reader to produce a clear mental representation of what is happening in the text. My paper proposes a new reading of texts that initially seem to be uncommunicative.},
	keywords = {Cognitive Narratology, Cut-ups, Enactivism, Experimental prose, Representation of mind},
	isbn = {2509-4882},
	url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0035/fns-2018-0035.xml?format=INT},
	author = {Baryshnikova, Daria}
}
@book {447,
	title = {Fictional Minds and Interpersonal Relationships in George Eliot{\textquoteright}s The Mill on the Floss },
	year = {2018},
	pages = {180},
	publisher = {Cambridge Scholars Publishing},
	organization = {Cambridge Scholars Publishing},
	address = {Newcastle},
	abstract = {George Eliot (1819-1880) is known for her psychoanalysis of the majority of her characters in her literary works. In her second novel, The Mill on the Floss (1860), she focuses on the fictional minds{\textquoteright} subjective first thoughts and intentions. She shows how their unsympathetic workings cause private and collective tragedy by the end of narrative. The novel has frequently been acclaimed by critics and readers alike. However, this book presents a re-evaluation of the text with the help of terminologies borrowed from cognitive narratology in order to shed new light on the significance of one-track minds in this narrative. The book explores the mental functioning of the individual fictional minds, and examines how different modes of mental activities influence the interpersonal relationships between and among the characters. Accordingly, the study argues that the main cause of tragedy in The Mill on the Floss stems from at least two factors. First, the central fictional minds primarily function on the basis of their self-centered thoughts and emotions, over which they usually do not have control. Second, the tragedy is an effect of the social minds{\textquoteright} or public opinion{\textquoteright}s unforgetting, unforgiving, and unsympathetic perspectives of any unconventional behavior.},
	keywords = {Cognitive Narratology, Fictional Minds, George Eliot, Interpersonal Relationships, The Mill on the Floss},
	isbn = {1-5275-1423-4},
	issn = {978-1-5275-1423-2},
	url = {https://www.cambridgescholars.com/fictional-minds-and-interpersonal-relationships-in-george-eliots-the-mill-on-the-floss},
	author = {Nayebpour, Karam}
}
@book {448,
	title = {Mind Presentation in Ian McEwan{\textquoteright}s Fiction: Consciousness and the Presentation of Character in Amsterdam, Atonement, and On Chesil Beach},
	year = {2017},
	publisher = {ibidem Press (via Colombia University Press)},
	organization = {ibidem Press (via Colombia University Press)},
	address = {Stuttgart},
	abstract = {This book explores the central fictional minds in three of Ian McEwan{\textquoteright}s most popular narratives. Mind presentation constitutes the main part of characterization in the second phase of McEwan{\textquoteright}s writing, where his plot structure depends to a large degree on the presentation of the characters{\textquoteright} mental workings. In Amsterdam (1998), Atonement (2003), and On Chesil Beach (2007), the construction process of the fictional minds, the degree their functioning is impacted by their experiences, and the way their mental aspect controls their behavior and relationships are critical to the stories. Relying on insights and methods from cognitive narratology, this study follows two purposes: It firstly analyzes the function of fictional minds and their operational modes in these narratives. Secondly, it explores the impact of the characters{\textquoteright} experiences on both their mental functioning and their behavior, especially with view of their relationships. Nayebpour reveals that the plot structure of these narratives highly depends on the lack of a sound balance between the two aspects of the represented minds (intermental/joint thought and intramental/individual thought) as well as on the dominance of the intramental one. The tragic atmosphere in these narratives, Nayebpour argues, is the result of this imbalance.},
	keywords = {Cognitive Narratology, Ian McEwan, Intermental vs Intramental Minds, Presentation,},
	issn = {3838209796},
	url = {https://cup.columbia.edu/book/mind-presentation-in-ian-mcewans-fiction/9783838210292},
	author = {Nayebpour, Karam}
}
