10.2357/ REAL-2021-0005 a Ngela l ocatelli Literature as an Ecological Space of Self- Awareness, and Perspective-Taking With a Reading of The Voyage Out 1 Literature: An Ecological Space of Multiple Perspectives. After the so called “Ethical Turn” 1 in literary theory, ethics and value remain major issues in literary studies As we address this ancient question, which runs through the history of philosophy and literature from Plato to Deleuze and beyond, we recognise that the realms of cognition, ethics, and representation have always been, and still are, mutually implicated and responsive to each other Several literary critics and writers, including novelists and poets, have proposed that the value of literature is linked to its power to provide emotional experiences and intellectual challenges, as well as to its ability to engage readers at the complex level of controversy and judgment In this sense literature can contribute to the development of a specific competence in the art of mediation in both literary and extra-literary cultural contexts Recently, several studies, mostly from narratology and the cognitive sciences, 2 have corroborated the appreciation of literature as a valuable cognitive tool As we come to understand the role of literature in contemporary culture in new terms, we discover that literature enhances our ability to read the mind 1 Todd F Davis/ Kenneth Womack, Mapping the Ethical Turn: A Reader in Ethics, Culture and Literary Theory, (Charlottesville: U of Virginia P, 2001); Robert Eaglestone, ed , European Journal of English Studies, “Ethics and Literature” 7 3 (2003); Andrew Gibson, Postmodernity, Ethics and the Novel: From Leavis to Levinas (London/ New York: Routledge, 1999) 2 Baumbach, Sibylle/ Ralf Haekel/ Felix Sprang, eds Cognitive Literary Studies, special issue of Journal of Literary Theory 11 2 (2017); Geert Brône/ Jeroen Vandaele, Cognitive Poetics: Goals, Gains and Gaps (Berlin: Mouton de Gruyter, 2009); Michael Burke/ Emily T Troscianko, Cognitive Literary Science: Dialogues Between Literature and Cognition (Oxford: OUP, 2016); Terence Cave, Thinking with Literature: Towards a Cognitive Criticism (Oxford: OUP, 2016); Lisa Zunshine, The Oxford Handbook of Cognitive Literary Studies (Oxford: OUP, 2016) 120 a Ngela l ocatelli 10.2357/ REAL-2021-0005 of others, 3 i e to understand their thoughts, desires, emotions, and values, and that reading literature allows us to entertain different perspectives on the world, ourselves, and others A cognitive approach to literature has further explained that the value of literature lies, as brilliantly proposed by Vera Nünning, in the potential that the reading of fiction has to “change minds.” 4 Moreover, Vera and Ansgar Nünning convincingly argue that literature is a valuable and unique contribution to “mindfulness, health and well being ” 5 There are several common concerns and convergences between recent cognitivist propositions and my arguments in literary theory, particularly as far as the knowledge and the salutary effects of literature are concerned Having devoted several essays 6 and ten collective volumes to the subject of “The Knowledge of Literature” 7 from both an epistemological and ethical perspective, I find that several of the points I have made on literary knowledge and its social relevance are confirmed on the grounds of methods and approaches that, while different from those of literary critics and philosophers, do come to highly compatible conclusions Let me now provide a few examples In 2002, in the first volume of the series on “The Knowledge of Literature,” I proposed that the imaginative, emotional, and empathetic dimensions of literature make it epistemologically unique and socially valuable 8 Empathy and 3 Lisa Zunshine, Why We Read Fiction: Theory of Mind and the Novel (Columbus: Ohio State UP, 2006) 4 Vera Nünning, Reading Fictions, Changing Minds: The Cognitive Value of Fiction (Heidelberg: Winter, 2014) 5 Ansgar Nünning/ Vera Nünning “How to Stay Healthy and Foster Well-Being with Narratives, or: Where Narratology and Salutogenesis Could Meet,” How to Do Things with Narrative: Cognitive and Diachronic Perspectives, eds Jan Alber/ Greta Olson (Berlin/ New York: De Gruyter, 2017) 6 Angela Locatelli, “‘The Humble/ d’ in Literature and Philosophy: Precariousness, Vulnerability, and the Pragmatics of Social Visibility,” The Humble in 19thto 21st-Century British Literature and Arts, eds Isabelle Brasme/ Christine Reynier/ Jean-Michel Ganteau (Montpéllier: Presses Universitaires de la Méditerranée, 2017), 147-163; Angela Locatelli, “The Moral and the Fable: A Fluid Relationship in Artistic Literature,” Values of Literature, eds Hanna Meretoja et al (Leiden/ Boston: Brill/ Rodopi, 2015), 47-62; Angela Locatelli, “The Ethical Use(s) Of Literary Complexity,” Values in Literature and the Value of Literature: Literature as a Medium for Representing, Disseminating and Constructing Norms and Values, eds Sibylle Baumbach/ Herbert Grabes/ Ansgar Nünning (Trier: WVT, 2009), 67-76; Angela Locatelli, “Literature’s Versions of its own Transmission of Values,” Ethics in Culture: The Dissemination of Values Through Literature and Other Media, eds Astrid Erll/ Herbert Grabes/ Ansgar Nünning (Berlin: De Gruyter, 2008), 19-34 7 Angela Locatelli, ed , La Conoscenza della letteratura/ The Knowledge of Literature, Volumes I-X, Bergamo: Edizioni Sestante/ Bergamo UP, 2002-2011 8 Angela Locatelli, “Pensiero Poetico: forma, immaginazione ed empatia,” La Conoscenza della letteratura, Volume I (Bergamo: Edizioni Sestante/ Bergamo UP, 2002), 181-190 Literature as an Ecological Space of Self-Awareness, and Perspective-Taking 121 10.2357/ REAL-2021-0005 interest in the emotions have been a growing concern in the cognitive sciences and cognitive poetics for at least two decades In 2003, in an essay in Textus: The Italian Journal of English Studies, I suggested that: “Literature has a specific cultural role to play, a role which derives from its power to create both fictional identifications with, and critical distances from, historical subject positions and sociocultural situations ” 9 I also suggested that when literature becomes a mere ornament, or a means of evasion and political indoctrination, rather than a means of deepening human understanding, literature betrays its own epistemic reality and primary meta-ethical function In fact, complex literature promotes judgment, through the emotions and the intellect, because it is able to encourage both identifications with and dis-identifications from different subjects. A recent study by Marco Caracciolo, 10 The Experientiality of Narrative - An Enactivist Approach, looks at the mechanisms of the reader’s emotions, judgment, and identifications from a cognitive science perspective and suggests that in reading we ‘enact’ or ‘simulate’ characters feelings and mental states In my 2007 essay “The Ecology of Wonderland: Textual, Critical and Institutional Perspectives in Literature,” 11 I defined literature as a beneficial ecological space, i e a vital cultural element to be preserved because more than one subject position is articulated in any given poem, play or novel, more than a single point of view is illustrated, and controversial statements are normally provided to the sagacious reader We can come to metaphorically envisage literature not as a fixed view from a single room, but as a landscape which invites being inhabited with a sense of multiple perspectives. Literature is not a method, and not a systematic theory, but a kind of discourse which sets different points of view in play. In this sense it becomes a transformative and self-transformative discourse, rather than just a constative or directly perlocutory discourse, and it can be illuminating for other forms of discourse Interest in this multi-perspectival dimension of literature is central in recent cognitive approaches to the study of literature A few examples may serve to illustrate and corroborate this observation In 2007 Catherine Elgin, a wellknown Harvard cognitive scientist, suggested that: “Works of fiction enable 9 Angela Locatelli, “Literature: Teaching meets ‘Theory’,” Textus 16 1 (2003), 15 10 Marco Caracciolo, The Experiantiality of Narrative - an Enactivist approach (Berlin: De Gruyter, 2014) 11 Angela Locatelli, “The Ecology of Wonderland: Textual, Critical and Institutional Perspectives in Literature,” Literary Landscapes, Landscapes in Literature, eds Michele Bottalico/ Maria T Chialant/ Eleonora Rao (Roma: Carocci Editore, 2007), 49-50, my emphasis 122 a Ngela l ocatelli 10.2357/ REAL-2021-0005 us to suspend our own perspective, temporarily take up another, and see how things look through other eyes ” 12 Daniel C Batson 13 has developed a stimulating theory of perspective-taking along two main lines As the title of his 2009 essay suggests, we can experience “Two Forms of Perspective Taking: Imagining How Another Feels and Imagining How You Would Feel” in a certain situation I wish to propose that his view also pertains to fictional (literary) worlds. Batson has dealt with several other aspects of the reading experience and has demonstrated that fiction has a potential for “sensitive understanding,” which has been shown to “reduce stereotyping and prejudice ” 14 In their 2013 article, devoted to the socio-cultural effects of reading fiction, and entitled “Reading narrative fiction reduces Arab-Muslim prejudice and offers a safe haven from intergroup anxiety,” Dan R Johnson et al have argued that: “Narrative fiction offers a route to spontaneous perspective-taking, where readers imagine the thoughts, feelings, and the entire world surrounding the protagonist without the need for explicit instruction ” 15 Let me now return to my metaphor of literature as a landscape What this means is that literature transports the reader into a variety of fictional worlds (sometimes to the point of making him/ her oblivious of the ‘real world’ of his/ her immediate material context). Some fictional landscapes are depicted by the narrator in very close detail, and others are, on the contrary, left to the reader’s active imagination working upon a few narrative clues In any case, novels or poems always create a vivid landscape, which readers can enter and enjoy, while accomplishing the act of reading as a sort of mental and sentimental journey While reading, the reader enters and travels through a fictional space, the nature of which is shaped by intrinsic factors, i.e. largely by its linguistic, formal, historical, aesthetic features and by the genre conventions of any particular work Such features are proper to all literary texts, and have a bearing on their position in a specific literary tradition or canon. If literature is, and I believe it is, a salutary landscape to be preserved, these features should not be ignored, but should be highlighted and valorised since, if we 12 Catherine Elgin, “The Laboratory of the Mind,” A Sense of the World: Essays on Fiction, Narrative and Knowledge, eds Wolfgang Huemer/ John Gibson/ Luca Pocci (London/ New York: Routledge, 2007), 52, my emphasis 13 Daniel Batson, “Two Forms of Perspective Taking: Imagining How Another Feels and Imagining How you Would Feel,” Handbook of Imagination and Mental Simulation, eds Keith D Markman/ William M P Klein/ Julie A Suhr (New York: Psychology Press, 2009), 267-279 14 Batson, “Two Forms of Perspective Taking,” 267; 276ff 15 Dan R Johnson et al “Reading Narrative Fiction Reduces Arab-Muslim Prejudice and Offers a Safe Haven From Intergroup Anxiety,” Social Cognition 31 (2013), 578-579 Literature as an Ecological Space of Self-Awareness, and Perspective-Taking 123 10.2357/ REAL-2021-0005 remain in my metaphor of the mutable landscape, these features correspond to the soil, the climate, the flora and fauna that make the landscape what it is, at any given moment Literature, in the restricted sense of artistic literature, with the great linguistic variety it displays, and in the context of the texts that are available historically and across cultures, finds a parallel in the varieties of the physical world, with its cities and oceans, glaciers and highways, deserts and fields. Both worlds must, of course, be saved. Given the sophisticated interpretative activity that it requires, literature increases our awareness of life’s complexities The survival of the imagination, of our mental and emotional sanity, is a needed priority in our world Not only does literary competence favour problem solving abilities, as demonstrated by recent studies in psychology and social psychology, but complex literature preserves our readiness to be surprised in an increasingly techno-bureaucratic culture This is the primary meaning of my phrase “the ecology of Wonderland,” with reference to literature’s beneficial psycho-social effects. Moreover, literature and the specific exercise of interpretation that it involves (which is not merely that of discourse analysis, but does include it) is a good antidote against both fundamentalisms and blind pragmatism, and because of this we should not subscribe to a widespread view of literature as a mere pastime, or as a purely content-based (more or less politically correct) discourse Is the literary landscape threatened, like oceans and forests, under the pressures of globalised capitalism? I believe that it is, but I also believe that there are growing reasons for hope, including the recent contribution of the neurosciences to the valorisation of literature Our task is to preserve and reinvent literature because the preservation and continuous reinvention of literature is a crucial issue for the preservation of our ‘soul ’ Alain Badiou has brilliantly and provocatively suggested that: “Art does not pertain to the theoretical, but to the ethical (in the widest possible sense of the term) It follows that the norm of art is to be found in its utility for the treatment of the affections of the soul ” 16 Badiou has also proposed that: Art itself is a truth procedure. Or again: The philosophical identification of art falls under the category of truth Art is a thought in which artworks are the Real (and not the effect) And this thought, or rather the truths that it activates, are irreducible to other truths - be they scientific, political or amorous. This also means that art, as a singular regime of thought, is irreducible to philosophy 17 16 Alain Badiou, Handbook of Inaesthetics (Stanford: Stanford UP, 2005), 4 17 Ibid , 9 124 a Ngela l ocatelli 10.2357/ REAL-2021-0005 Literature, qua literature, is “irreducible” to anything else, and must therefore be taken on its own terms As I have said above, literature is a territory to be explored by paying close attention to its specific features and is not just a means of ‘“illustrating”’ or propounding the theories or propositional contents found in other disciplines Even if literature is acutely cognisant of the findings of other disciplines, it is important that it deal with them on its own terms For example: In Mrs Dalloway, Septimus Warren Smith’s trauma and psychic problems are clearly not dealt with in a clinical sense, but this means that his condition is explored in the novel ‘from within,’ in the character’s own conscience, and in the devastating effects it has on his wife’s psychic and daily life as well It is an existential, relational, and phenomenological view of his disturbance, rather than a diagnosis of post-traumatic stress disorder However, it is important to appreciate how the literary and the clinical can be mutually responsive and enriching The hopeful future of the humanities seems to me to lie precisely in such interdisciplinary dialogues The frequent meta-linguistic and meta-critical observations provided by great novelists or poets on their own work and the work of others demonstrate that they are aware of the task, questions, and purposes of writing Likewise, as readers, we should ask certain questions about the meaning and the strategies of reading A sufficiently critical and dialogic reading (dialogic in the sense of shared and debated among different subjects, who come to the text with different assumptions and diverging interests, and who become aware of such interests and assumptions through the reading) makes the experience of literature meta-ethically significant. In fact, the meta-ethical role of literature both includes and transcends the means of empathetic identifications it provides, in the sense that it necessarily produces both a personal and a collective awareness of normative codes and systems of value Characters in a novel, a poem or a play illustrate, and impart to readers, notions of normative, desirable, acceptable behaviour, but they also question what is socially valued and what is taken for granted and suggest alternative ways of being in the world (as I will argue in the following pages with reference to The Voyage Out) The value of literature is that it sustains an interminable reflection and debate around the creation of value 18 The province of literature is, of course, constituted on the basis of political, social, institutional, and cultural investment (or dis-investment) in the literary, according to dominant cultural attitudes towards both values and 18 Angela Locatelli, “Reading Literature: An Ethical Gesture in the Postmodern Context? ,” Armenia Folia Anglistika, Vol 12, no 1 (2014), 121-130 Literature as an Ecological Space of Self-Awareness, and Perspective-Taking 125 10.2357/ REAL-2021-0005 fiction. For example, the global marketing of literature operates as a powerful canon, positioning certain landmarks in the textual landscape Some of these landmarks are ephemeral and in this sense the market canon is always bound to differ from the canon of the classics Our task as professors of literature and theory is to develop in our students the ability to read carefully, in depth, dialogically, and critically, both the classics and popular works of literature A dialogic and critical reading is, of course, a complex process; it is achieved slowly, and requires a specific expertise, an active imaginative effort, intelligence, and an open mind, while at the same time enriching these mental faculties In other words, a critical reading is rewarding in terms of a ‘sentimental education,’ and is also a factor in deeper understanding, as the cognitive sciences teach us today This intellectual result is achieved provided that we learn (and teach) reading against the grain of the ‘fast-forward’ myriad messages offered for our daily consumption Different texts do require different forms of attention and develop, in turn, different cognitive faculties. This is why a neglect of the study and the experience of literature would result in a reduction of certain emotional and mental faculties In a nutshell: We can see literature as a slow-food of the mind, as opposed, for example, to the junk food of hypertrophic, fast, merely utilitarian information and even fake news Let me now illustrate the dynamics of perspective-taking and the development of self-awareness and world-awareness discussed in the theoretical perspective above, with reference to a specific literary ‘case study’: Virginia Woolf’s The Voyage Out 2 The Voyage Out: Narrative Questioning, Perspective-Taking, and Itineraries of Self-Awareness This novel was published in 1915 with the title Melymbrosia, a title soon discarded in favour of the more suggestive The Voyage Out 19 The latter title is clearly to be understood both literally and metaphorically: it is the narrative of a sea voyage to an exotic place, Santa Marina (an imaginary locus created by the writer), but above all it is a voyage “out” of a familiar milieu and, for most of the characters, “out” of their British and Eurocentric context 20 19 Virginia Woolf, The Voyage Out (1915; London: Grafton Books/ Collins, 1989) 20 I have developed this aspect of the critique of the British colonial enterprise in The Voyage Out in the Italian academic Journal Simplegadi: Angela Locatelli, “Plurivocal Narration as an Empathetic Response of Resistance to Colonial Prejudice: Writing Alterity in The Voyage Out ” Le Simplegadi, Vol 19 (Winter 2019), 53-64 126 a Ngela l ocatelli 10.2357/ REAL-2021-0005 Furthermore, it is a voyage “out” of childhood, adolescence, and of the family of origin This is especially true for the heroine, Rachel Vinrace, who evolves from being a sheltered and naïve girl to a woman with a full sense of herself The protagonist’s self-awareness increases exponentially during the “voyage out” thanks to her encounters with men who stimulate her curiosity and satisfy her intelligence and thanks to the sensitive guidance of her aunt Mrs Helen Ambrose At the beginning of the novel, Rachel is a typical, motherless Victorian ‘girl’ (even if she is 24), educated by pious aunts in Richmond, and overpowered by a patriarchal father who cares more for his shipping business than his family; he is the owner of the cargo boat The Euphrosyne that will take an assorted group of English characters to Santa Marina The fictional world of the novel is double, because it includes both the exotic space of Santa Marina and Edwardian London at the beginning of Britain’s gradual loss of commercial and colonial supremacy The novel deals with several of the ongoing social changes: with the new urban context, the new professions, the London class spectrum from the homeless to the aristocracy, the issues of colonialism, of women’s underprivileged condition, including their lack of formal education Virginia Woolf’s first novel is already a radical literary innovation, both at the thematic and the formal level The traditional topic of marriage in classical and popular novels, i e of marriage as the (only) desirable and valuable ‘happy ending’ (in a social, moral, and financial sense), is abandoned without hesitation at the level of plot The existential priority of both the hero and the heroine, Terence Hewett and Rachel Vinrace, is no longer ‘marriage,’ but the lived experience of ‘being in love ’ For the reader, this unusual narrative choice becomes an exercise in perspective-taking, since it subtly challenges mainstream views on marriage in Edwardian times and questions masculine and feminine roles, while contradicting the canonical expectations of the love plot Among the narrative innovations that sustain the alternative (to the mainstream) perspective on values are the lengthy, candid, and fearless dialogues between the two protagonists, but also, at the formal level, the mixture of omniscent narration and character focalisation, which allows an unprecedented exploration of the heroine and of the hero’s consciousness, of their feelings and thoughts, against the contrasting backdrop of their conservative milieu This is undoubtedly a bildungsroman, and yet an ‘unusual’ and highly original bildungsroman, not only because one of the protagonists is a female character, but also because her growth is accomplished - and her social incorporation and maturity achieved - almost apart from the imperatives of her society and education. In fact, maturity is no longer defined simply as integration into the hero/ heroine’s society through the full endorsement of societal norms, 127 10.2357/ REAL-2021-0005 Literature as an Ecological Space of Self-Awareness, and Perspective-Taking but as the quiet, and yet determined, affirmation of one’s own beliefs and desires The only imperative for Rachel and Terence is being true to oneself and open to another This is to a certain extent also true for Arthur and Susan, the other couple who become engaged during their “voyage out” and whose happy future contemplates a traditional marriage The authenticity of the emotions, as they are felt, analysed, and shared spells the ‘coming of age’ of the protagonists, as a genuine coming to terms with their deepest selves The pleasures and fears of the erotic and of falling in love per se (and not as a means towards a ‘good marriage’) are indeed an innovative and subversive topic, compared to traditional and popular nineteenth-century novels The “voyage out” becomes for Rachel the occasion of new experiences, including the acquisition of a literary knowledge the likes of which women of her status and times were commonly deprived The acquaintance with highly educated and open-minded (rather than condescending) men, who suggest she read, and indeed provide her with books, proves crucial in her development In Rachel and Terence’s parable we clearly see the power that fiction has of questioning values. In this sense I share Vera Nünning’s views: fiction does not just confirm and popularise culturally dominant feeling and display rules. Fictional works frequently direct attention to individuals having difficulty with conforming to the prevailing feeling rules, and they explore situations in which it appears to be necessary or at least understandable to violate them 21 This is clearly the case in The Voyage Out Woolf’s feminist views avant la lettre are amply voiced in it, as they would later also be in A Room of One’s Own (1929) and Three Guineas (1938) In fact, in The Voyage Out, the character of Terence Hewet expresses ideas on the condition of women that were radical in Edwardian times and that still have a clear emancipatory force He is the mouthpiece of Woolf’s opinions, and while this may ring scarcely plausible for a male character, Woolf provides a brilliant explanation: Terence has experienced a form of social scorn for being a writer (rather than choosing a more remunerative or prestigious profession) and this puts him in a position from which he can understand women’s experience of being socially humbled His ‘vindication of the rights of women’ is clearly emancipatory, since his conversations with Rachel lead her to an unprecedented assessment of her own qualities and aspirations, and to a fresh awareness of the ultraconventional, stifling family life she had lived before the “voyage out.” Sometimes, Terence’s words seem a form of straightforward moralising against the grain of mainstream values However, when the sermonising is abandoned, for 21 Nünning, Reading Fictions, Changing Minds, 117 128 a Ngela l ocatelli 10.2357/ REAL-2021-0005 example in Terence’s ekphrastic vignettes of hypocritical and unsatisfactory conventional married life (in Chapter 18), the novel is very effective in suggesting that the traditional values, together with the prescriptions of strictly defined male and female roles, have been the cause of a regrettable insincerity and distance between men and women. Women’s hypocritical flattery towards men, and the mainstream double-standard for men and women is part and parcel of a certain kind of education, one imparted for centuries, that had prescribed what Terence can’t help but notice, even in the behaviour of an intelligent married woman like Helen Ambrose He wonders: Even the Ambroses, whom he admired and respected profoundly - in spite of all the love between them, was not their marriage too a compromise? She gave way to him; she spoilt him; she arranged things for him; she who was all truth to others was not true to her husband, was not true to her friends if they came in conflict with her husband 22 The relationship between Terence and Rachel, grounded as it is on sincerity, trust, and honesty is therefore most unconventional, without being overtly transgressive Their frank dialogue dispels the risk of a stereotypical association As I have said, the novel’s main interest is not the happy ending of marriage, but the innovative topic of the growth of an authentic love relationship through honest communication The protagonists’ parable of emancipation and self-awareness invites an analogous trajectory of self-knowledge for the readers of the novel Whatever their cultural world may be, readers are also transformed, in terms of a deeper awareness of the values they uphold Since any culture has a belief system and is endowed with rules and attitudes that usually go undetected and unchallenged, characters who do not conform to dominant values provoke a meta-ethical questioning of values for the readers of similar or different persuasions In her “Introduction” to the volume Us and Others: Social Identities across Languages, Discourses and Cultures, Anna Duszak 23 valuably reminds us that human social identities are mutable and interactively constructed I wish to conclude by suggesting that this process happens through discursive negotiations that impact the socio-psychological level Such negotiations are grounded in a narrative competence and narrative understanding of the world that literature uniquely enhances for its attentive and engaged readers 22 Woolf, Voyage, 248 23 Anna Duszak, “Us and Others: An Introduction,” Us and Others: Social Identities across Languages, Discourses and Cultures, ed ead (Amsterdam: Benjamins 2002), 1-28 10.2357/ REAL-2021-0005 Works Cited Badiou, Alain Handbook of Inaesthetics Stanford: Stanford UP, 2005 Batson, C Daniel “Two Forms of Perspective Taking: Imagining How Another Feels and Imagining How You Would Feel ” Handbook of Imagination and Mental Simulation Eds Keith D Markman/ William M P Klein/ Julie A Suhr New York: Psychology Press, 2009, 267-279 Baumbach, Sibylle/ Ralf Haekel/ Felix Sprang, eds Cognitive Literary Studies, special issue of Journal of Literary Theory 11 2 (2017) Brône, Geert/ Jeroen Vandaele Cognitive Poetics: Goals, Gains and Gaps Berlin: De Gruyter, 2009 Burke, Michael/ Emily T Troscianko Cognitive Literary Science: Dialogues Between Literature and Cognition Oxford: OUP, 2016 Caracciolo, Marco The Experientiality of Narrative: An Enactivist Approach Berlin: De Gruyter, 2014 Cave, Terence Thinking With Literature: Towards a Cognitive Criticism Oxford: OUP, 2016 Davis, Todd F / Kenneth Womack, eds Mapping the Ethical Turn: A Reader in Ethics, Culture and Literary Theory Charlottesville: U of Virginia P, 2001 Duszak, Anna “Us and Others: An Introduction ” Us and Others: Social Identities across Languages, Discourses and Cultures Ed ead Amsterdam: Benjamins, 2002, 1-28 Eaglestone, Robert, ed Ethics and Literature, special issue of European Journal of English Studies 7 2 (2003) Elgin, Catherine “The Laboratory of the Mind ” A Sense of the World: Essays on Fiction, Narrative and Knowledge Eds Wolfgang Huemer/ John Gibson / Luca Pocci London/ New York: Routledge, 2007, 43-54 Gibson, Andrew Postmodernity, Ethics and the Novel: From Leavis to Levinas London/ New York: Routledge, 1999 Johnson, Dan R./ Daniel M. Jasper/ Sallie Griffin/ Brandie L. Huffman. “Reading Narrative Fiction Reduces Arab-Muslim Prejudice and Offers a Safe Haven From Intergroup Anxiety ” Social Cognition 31 (2013), 578-579 Locatelli, Angela, ed La conoscenza della letteratura/ The Knowledge of Literature, Volumes I-X, Bergamo: Edizioni Sestante/ Bergamo UP, 2002-2011 --- “Pensiero Poetico: forma, immaginazione ed empatia ” La Conoscenza della letteratura, Vol I Bergamo: Edizioni Sestante/ Bergamo University Press, 2002, 181-190 --- “Literature: Teaching Meets ‘Theory’ ” Textus 16 1 (2003), 17-26 --- “The Ecology of Wonderland: Textual, Critical and Institutional Perspectives in Literature ” Literary Landscapes, Landscapes in Literature Eds Michele Bottalico/ Maria T Chialant/ Eleonora Rao Roma: Carocci Editore, 2007, 26-54 --- “Literature’s Versions of its own Transmission of Values ” Ethics in Culture: The Dissemination of Values Through Literature and Other Media Eds Astrid Erll/ Herbert Grabes/ Ansgar Nünning Berlin: De Gruyter, 2008, 19-34 129 Literature as an Ecological Space of Self-Awareness, and Perspective-Taking 130 a Ngela l ocatelli 10.2357/ REAL-2021-0005 --- “The Ethical Use(s) Of Literary Complexity ” Values in Literature and the Value of Literature: Literature as a Medium for Representing, Disseminating and Constructing Norms and Values Eds Sibylle Baumbach/ Herbert Grabes/ Ansgar Nünning Trier: WVT, 2009, 67-76 --- “Reading Literature: An Ethical Gesture in the Postmodern Context? ” Armenia Folia Anglistika 12 1 (2014), 121-130 --- “The Moral and the Fable: A Fluid Relationship in Artistic Literature ” Values of Literature. Eds Hanna Meretoja/ Saija Isomaa/ Pirjo Lyytikäinen/ Kristina Malmio Leiden/ Boston: Brill, 2015, 47-62 --- “‘The Humble/ d’ in Literature and Philosophy: Precariousness, Vulnerability, and the Pragmatics of Social Visibility ” The Humble in 19thto 21st-Century British Literature and Arts Eds Isabelle Brasme/ Christine Reynier/ Jean-Michel Ganteau Montpéllier: Presses Universitaires de la Méditerranée, 2017,147-163 --- “Plurivocal Narration as an Empathetic Response of Resistance to Colonial Prejudice: Writing Alterity in The Voyage Out ” Le Simplegadi 19 (Winter 2019), 53-64 Nünning, Vera Reading Fictions, Changing Minds: The Cognitive Value of Fiction Heidelberg: Universitätsverlag Winter, 2014 Nünning, Ansgar/ Vera Nünning “How to Stay Healthy and Foster Well-Being with Narratives, or: Where Narratology and Salutogenesis Could Meet ” How to Do Things with Narrative: Cognitive and Diachronic Perspectives Eds Jan Alber/ Greta Olson Berlin/ New York: De Gruyter, 2017, 157-186 Woof, Virginia The Voyage Out (1915) London: Grafton Books/ Collins, 1989 --- A Room of One’s Own London: Hogarth Press, 1929 --- Three Guineas London: Hogarth Press, 1938 Zunshine, Lisa Why We Read Fiction: Theory of Mind and the Novel Columbus: Ohio State UP, 2006 ---, ed The Oxford Handbook of Cognitive Literary Studies Oxford: OUP, 2016