- University of Oslo
- Comparative Literature
- Page institutionnelle / Institutional webpage : https://www.hf.uio.no/ilos/english/people/aca/karinkuk/index.html
Présentation / Presentation
Karin Kukkonen is Professor in Comparative Literature at the University of Oslo. She specialises in cognitive approaches to literature, in particular questions of probabilistic thinking. At the University of Oslo, Kukkonen leads the interdisciplinary research and teaching initiative “Literature, Cognition and Emotions” (2019-2023). She has published in the fields of narratology, cognitive approaches to literature and the eighteenth-century novel. Kukkonen’s current research interest lies in creative practices and cognitive processes, with a particular emphasis on the role of chance in literary writing.
À propos du hasard / About chance (publications)
- Probability Designs: Literature and Predictive Processing (OUP, 2020), https://global.oup.com/academic/product/probability-designs-9780190050955?cc=no&lang=en&#
- 4 E Cognition and Eighteenth-Century Fiction: How the Novel Found its Feet (OUP, 2019), https://global.oup.com/academic/product/4e-cognition-and-eighteenth-century-fiction-9780190913045?lang=en&cc=no
dans ALEA / in ALEA
- Juin 2018, atelier 3. “Fictions et savoirs” – Enquête 3 sur le thème “Design and Improvisation. Cognitive sciences and contingency”
- Summer School “Creativity and Contingency” (15-19 June 2020)
perspectives sur le hasard / on chance
Creative practices engage with chance and contingency across history and across different arts. Even though the specific materials, technologies and self-understanding of authors and artists change profoundly, what connects them across the centuries is their readiness to provoke chance. Aleatory practices are well documented for the surrealists and experimental artists of the twentieth century, but also authors in the early modern period represent creative processes as moments where chance is brought forth in salon conversations or on the stage. Madeleine de Scudéry followed a very different artistic programme than, for example, the surrealists – how can we think about the shared features of creative processes across the centuries? [Read more]
