1. by the interpretation of signs (animate images) as much as, if not more than, the definition of a specific word. For an interesting psychoanalytic take of the movement from animate image see Whitebook;Slow Magic: Psychoanalysis and the Disenchantment of the World
2. This whole debate over terminology is interesting and an elaboration of the ideas suggested by animate form, but distinctly beyond the scope of the dissertation, where establishing the agency-animate form connection is the main point. 41. This last chapter on natural narratology (311-75) covers many of the issues glossed over in these final paragraphs relating agency, animate form and the reconceptualization of narrativity in relation to cognitive science. However, the main point in the dissertation is simply to show the connections not the ramifications of this reconceptualization and therefore the obvious expansion of the ideas is not covered. See particularly pages 333-41 for ideas on tellers, reflectors and readers with regard to the dramatic personae concept of traditional narratology. 42. Most of this paragraph reworks the presentation of these same issues by Slochower. A further expansion of the ideas expressed in this paragraph can be found in Richard Buxton, From Myth to Reason? Studies in the Development of Greek Thought (1-21). However, Claude Calame's "The Rhetoric of Muthos and Logos: Forms of Figurative Discourse," also in Buxton, is particularly relevant (119-43), and Paolo Rossi's Logic and the Art of Memory (81-130) works the same idea from the perspective of artificial memory. 43. Additional work that supports these ideas expressed can be found in Donnel Stern's, "Words and Wordlessness in the Psychoanalytic Situation;; Particularly Susan Lanser ; See Paul Ricoeur;Narrative Time" (255-60) and, particularly his comments on the social relation of narrative and how hero stories reckon with time (60). Additional good sources for these broad statements include Liza Zunshine