Stylistic Manipulation of the Reader in Contemporary Fiction

Title Page
Copyrignt Page
Contents
Contributors
Acknowledgements
Chapter 1: Introduction: Manipulation in fiction
	1. The two poles of manipulation
	2. Literary communication: Different channels
	3. Guiding attention, influencing judgement
	4. Book content
	Notes
	References
Part 1: Manipulating positions, representations and viewpoints
	Chapter 2: Metalepsis, counterfactuality and the forked path in The French Lieutenant’s Woman
		1. Introduction: Manipulating the reader
		2. Synopsis: The French Lieutenant’s Woman
		3. Narrators, narration and author intention
		4. The endings: Author metalepsis and manipulation
		5. Counterfactuality, the forked path and disnarration
		6. The logic of narrative possibilities
		7. The disnarrated: What does not happen
		8. Conclusion
		References
	Chapter 3: Social deixis in literature
		1. Introduction
		2. A theoretical discussion of social deixis in literature
		3. Analysing social deixis as a means of literary manipulation of the reader: An example
		4. Conclusion
		Note
		References
	Chapter 4: ‘The novel of the future’: Author’s manipulation in Henry Green’s Nothing (1950) and Doting (1952)
		1. Introduction
		2. Henry Green’s theory of art: Author’s manipulation
		3. Data and methodology
		4. Dialogue versus narration ratio: Textual space
		5. Gricean pragmatics: Oblique dialogue
		6. Corpus pragmatics: Stylistic saliency
		7. Conclusion
		Notes
		References
	Chapter 5: Building a world from the day’s remains: Showing, telling, re-presenting
		1. Introduction
		2. Key terms and concepts: Mimesis and diegesis, discourse presentation and stylistic balance
		3. The Remains of the Day
		4. Conclusions
		Notes
		References
Part 2: Readers’ responses to stylistic manipulation
	Chapter 6: Manipulating inferences: Interpretative problems and their effects on readers
		1. Introduction
		2. Explicatures and implicatures
		3. Understanding the novels: Three kinds of difficulties
		4. Experiencing the novels: Immersion and realism
		5. Fictional texts as communicative acts
		6. Conclusions
		Notes
		References
	Chapter 7: Surprise and story ending: Readers’ responses to textual manipulation in a short story by J. D. Salinger
		1. Introduction
		2. Theoretical background
		3. Data and method
		4. Results and discussion
		5. Conclusions
		References
	Chapter 8: Manipulating metaphors: Interactions between readers and ‘Upon Opening the Chest Freezer’
		1. Introduction
		2. ‘Upon Opening the Chest Freezer’: Stylistic analysis
		3. Reading group talk
		4. Manipulating metaphors in the reading group talk
		5. Conclusion
		Acknowledgements
		Appendix
		Transcription conventions
		References
Part 3: Genre-specific and multimodal manipulation
	Chapter 9: Manipulation in Agatha Christie’s detective stories: Rhetorical control and cognitive misdirection in creating and solving crime puzzles
		1. Introduction
		2. Handling the evidence: Controlling descriptive details
		3. Controlling the suspect list: Task-based inattentional blindness
		4. Conclusion
		Notes
		References
	Chapter 10: Untranslatable clues: Reader manipulation and the challenge of crime fiction translation
		1. Introduction: On crime fiction’s reader manipulation
		2. On the translatability of crime fiction’s reader manipulation
		3. Concluding remarks
		Notes
		References
	Chapter 11: Multimodal manipulation of the reader in Abrams and Dorst’s S.
		1. Introduction
		2. The multimodal feast of Abrams and Dorst’s S.
		3. Typography – a multimodal stylistics approach
		4. Typographic meaning in S.
		5. Concluding remarks
		Notes
		References
Index