Ambiguity, multi-stable storyworlds, and storyworld possible selves in Rosemary Timperley's ghost story "Harry"
In this study I analyse the ghost story "Harry" (Timperley 1955) within the paradigms of embodied cognition (Gallese 2005, 2017), cognitive ambiguity (Zeki 2006), and storyworld possible selves theory (Author, 2014, 2018). My aim is to find out which storyworld possible selves, or "im...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universitat Autònoma de Barcelona |
| Repositorio: | Dipòsit Digital de Documents de la UAB |
| Idioma: | inglés |
| OAI Identifier: | oai:ddd.uab.cat:270724 |
| Acceso en línea: | https://ddd.uab.cat/record/270724 https://dx.doi.org/urn:doi:10.5565/rev/brumal.894 |
| Access Level: | acceso abierto |
| Palabra clave: | Embodied cognition Cognitive ambiguity Storyworld possible selves Ghost stories Multi-stable storyworlds Cognición corporeizada Autoesquemas posibles de ficción Historias de fantasmas Universos multiestables |
| Sumario: | In this study I analyse the ghost story "Harry" (Timperley 1955) within the paradigms of embodied cognition (Gallese 2005, 2017), cognitive ambiguity (Zeki 2006), and storyworld possible selves theory (Author, 2014, 2018). My aim is to find out which storyworld possible selves, or "imagings of the self in storyworlds" (Author, 2014: 119) are likely to be projected by readers, and the extent to which these interact with the ambiguity that characterizes ghost naratives. The findings suggest that, in "Harry," ambiguity (Zeki 2006) contributes to the mental construction of two alternative, equally certain, storyworlds, which I call multi-stable storyworlds, respectively connected to uncanny and rational meaning constructions. The storyworld possible selves projected in these mental scenarios seem to predominantly involve emotional responses associated with fear, family relations, and ethical perceptions of social justice. |
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