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(Re-)Narrating Space in the Contemporary American Novel
Series: Lettre
Genres and Functions of the Short Story in North America
Zum Dramatismus des modernen Romans
Series: Lettre

. Veering: A Theory of Literature. Edinburgh UP, 2011. Santayana, George. The Genteel Tradition in American Philosophy: Character and Opinion in the United States, edited by James Seaton, Yale UP, 2009. Schönfelder, Karl-Heinz. “Benjamin Franklin to Frank Algernon Cowperwood: Changes in the Image of the American Businessman.” Zeitschrift für Anglistik und Amerikanistik, vol. 30, no. 3, 1982, pp. 213-218. Sculley, John, and John A. Byrne. Odyssey: Pepsi to Apple a Journey of Adven- ture, Ideas and the Future. Stoddart, 1989. Seib, Kenneth. “Uneasiness at Niagara

Ernst Schleiermacher, Vorlesungen zur Hermeneutik und Kri- tik, in: Kritische Gesamtausgabe, Bd. 4: Vorlesungen (Berlin: De Gruyter, 2012). 137 Samuel Weber, »Uncanny Thinking«, in: ders., The Legend of Freud (Stanford: Stanford University Press, 2000), S. 1–31, hier S. 4. 138 Vgl. Fredric Jameson, Marxism and Form: Twentieth Century Dialectical Theories of Literature (Princeton: Princeton University Press, 1974), S. 128; vgl. Gillian Beer, Darwin’s Plots: Evolutionary Narrative in Darwin, George Eliot and Nine- teenth-Century Fiction, 3. Aufl. (Cambridge; New

Tales of Henry James. The New York Edition, Bd. 11, New York: Charles Scribner’s Sons, 1922. Jameson, Fredric: Marxism and Form: Twentieth Century Dialectical Theories of Literature, Princeton: Princeton University Press, 1974. ——— Postmodernism. Or, the Cultural Logic of Late Capitalism, Durham: Duke University Press, 1991. ——— The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca: Cornell University Press, 1981. James, William: Essays in Psychology, Cambridge, Mass.: Harvard University Press, 1983. ——— The Principles of Psychology, New

- ary critics, and Chapman reads it as in some significant aspects anticipating their ideas by “sketching out in fictional form a theory of literature rooted in cognitive science,” whose “central premise” is that “cognition is embodied, and therefore so is reading” (227, 234).47 However, I would argue that the interesting question here is not how familiar Powers was with cognitive literary theory when he composed the novel48 but rather his method of turning the findings of cognitive science and neuroscience into metaphors for literary activity, a method that is