Style and Sense(s)

Acknowledgements
Contents
Notes on Contributors
List of Figures
List of Tables
1: Introduction: Enacting Style and Sense(s)
	References
Part I: The Representation of Sense and Sense-making in Fiction
	2: The Representation of Experience in Modernist Fiction
		2.1	 Reflective and Non-Reflective Consciousness
		2.2	 Existing Models of Consciousness Representation
		2.3	 The Representation of Action: A Problem for Theories of Free Indirect Style
		2.4	 The Representation of Character Action as Experience
		References
			Texts
	3: To Make You Hear, Make You Feel, Make You See: Representing Sense-Perceptions in Narrative Fiction
		3.1	 The Five ‘Basic’ Senses as Foundational to Narration that Engages the Reader
		3.2	 From Seeing to Touching and Tasting: A Cline of Intimacy?
		3.3	 Other Human Feedback Systems, and Fictional Representation of Their Disruption
		3.4	 Sense-Representation in Scene-Setting: A Celebrated Example
		3.5	 Sense-Representations in an Adichie Short Story
		3.6	 A Corpus-Analytic Semantic Tagging of Sensory Lexis
		3.7	 Feel: A Core Lexeme of Sense- and Discourse-Representation in Modern Fiction
		3.8	 Final Thoughts
		References
	4: The Sense of the Sense of Smell in Virginia Woolf’s Flush
		4.1	 Introduction
		4.2	 “Nameless smells”
		4.3	 The Essence of Smells
			Smell: A Subjective Experience or An Objective Phenomenon?
			Woolf and Sensations
			Smells as Invisible Agents
		4.4	 An Olfactory Aesthetics
			Smells Instead of Words
			Smells and Simultaneity
		4.5	 Conclusion
		Appendix: Adjectives Describing Smells in Flush
		References
Part II: Sensory Details Across Genres
	5: “The Mt Everest of Dining Experiences”: Multisensory Style in Restaurant Reviews
		5.1	 Introduction
		5.2	 The Cognitive Structure of Restaurant Reviews
		5.3	 Multisensory Style
		5.4	 Restaurant Reviews as Rhetoric
		5.5	 Conclusion
		Appendix: List of Reviews, by Score and Year of Publication
		Bibliography
	6: “You see, but you do not observe”: Sensory Manipulation and Sense-Making in the Sherlock Holmes Detective Stories
		6.1	 Introduction
		6.2	 Sensory Manipulation and Sense-Making in Relation to the Standard Schema of Detective Fiction
		6.3	 Sherlock Holmes—Presenting the Great Detective and His Methods
			Observation: Collecting sensory evidence
			Knowledge: Selective and relevant to detection
			Reasoning: Deductions and sense-making
		6.4	 Rhetorical Strategies and Sensory Manipulation
		6.5	 Examples from Specific Cases
			The Hound of the Baskervilles [1902]
			“The adventure of the lion’s mane” [1926]
			“The adventure of the cardboard box” [1893]
		6.6	 Conclusion
		References
Part III: Experiencing Otherness
	7: Experiencing Mind Style: From Iconicity to Sensory Simulation
		7.1	 Introduction
		7.2	 Mind Style and Iconicity
		7.3	 Enacting a Mind Style through Mental Simulation
		7.4	 A Girl is a Half-formed Thing
		7.5	 Coercive Mind Style?
		7.6	 Conclusion
		References
	8: Painting a World Before Language Using Language: A Cognitive Stylistic Analysis of Synaesthetic Metaphors in the Imagery of Keki Daruwalla’s “Before the Word”
		8.1	 Introduction
		8.2	 Synaesthesia and Cognitive Stylistics
		8.3	 Keki Daruwalla and “Before the Word”
		8.4	 Cognitive Stylistic Analysis
		8.5	 Conclusion
		8.6	 Scope for Further Studies
		References
	9: Remaking the Sense(s) in Sumana Roy’s How I Became a Tree: A Stylistic Analysis
		9.1	 Introduction
		9.2	 Senses, Words, and Plants
		9.3	 The Language of Trees (and the Senses) in Sumana Roy’s Prose
		9.4	 Text Analysis
		9.5	 Concluding Remarks
		References
Part IV: Senses Through Medium and Semiotic Systems
	10: “The Sound Must Seem an Echo to the Sense”: Experiencing Oral and Silent Reading of Poetry
		10.1	 Introduction: How Do We “Sense” Poetry?
		10.2	 The Senses: “Musical” and “Erotic” Beats “Cognitive”
		10.3	 Methodology
			Study 1
			Study 2
		10.4	 Conclusions and Discussion
		Appendix 1: Variables Grouped by Dimensions
		Appendix 2: Poems
		Appendix 3: Questionnaire Sample (Translation from Ukrainian)
		References
	11: Creative Writing Practice of Ekphrastic Intervention: A Case Study of Literary Responses to A Blind Girl Reading by Ejnar Nielsen
		11.1	 Ekphrastic Creativity
		11.2	 The Ekphrastic Review
		11.3	 Applying Text World Theory to Images
		11.4	 Ekphrastic In(ter)vention
			Textual Intervention
			Contextual Intervention
			Cross-textual Intervention
		11.5	 Conclusion
		Bibliography
	12: Putting Some Flesh on Sensory Language: An Experiential Approach to Style
		12.1	 Introduction
		12.2	 “Blowing bubbles out of a pipe” (Woolf 1978, 94)
			“Moments of being” and “non-being”
			Getting “things” into Perspective
				Conceptual Reification
				Ception
		12.3	 “We only know something when we have replayed it” (Jousse 2005, 129)
		12.4	 Concluding Remarks: “I see them placed, I see them engaged in this or that act” (James 1881)
		References
Index