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Mental Representations A Dual Coding Approach

Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. T...

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The Fictive Brain: Neurocognitive Correlates of Engagement in Literature:

While language use in general is currently being explored as essentially situated in immediate physical environment, narrative reading is primarily regarded as a means of decoupling one's consciousness from the environment. In order to offer a more diversified view of narrative reading, the article distinguishes between 3 different roles the environment can play in the reading experience. Next to the traditional notion that environmental stimuli disrupt attention, the article proposes that they can also serve as a prop for mental imagery and/or a locus of pleasure more generally. The latter 2 perspectives presuppose a more clear-cut distinction between consciousness and attention than typically assumed in the communication literature. The article concludes with a list of implications for research and practice.

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Does it Matter Where You Read? Situating Narrative in Physical Environment

Towards an Embodied History : Metaphorical Models in Textbook Knowledge of the Controversial Polish-Lithuanian Past

In this theoretical paper, we would like to pave the ground for future empirical
studies in Neurocognitive Poetics by describing relevant properties of
 Shakespeare’s 154 sonnets extracted via Quantitative
Narrative Analysis. In the first two parts, we quantify aspects of the sonnets’
cognitive and affective-aesthetic features, as well as indices of their thematic
richness, symbolic imagery, and semantic association potential. In the final
part, we first demonstrate how the results of these quantitative narrative
analyses can be used for generating testable predictions for empirical studies
of literature. Second, we feed the quantitative narrative analysis data into a
machine learning algorithm which successfully classifies the 154 sonnets into
two main categories, i.e. the young man and dark
lady poems. This shows how quantitative narrative analysis data can
be combined with computational modeling for identifying those of the many
quantifiable sonnet features that may play a key role in their reception.

What’s in the brain that ink may character ….: A quantitative narrative analysis of Shakespeare’s 154 sonnets for use in (Neuro-)cognitive poetics

IntroductionMental imagery is reportedly one of the commonest things people remember about their narrative reading in the long term (Sadoski et al.), and it correlates with various other dimensions of reader response, most notably with emotion (Krasny and Sadoski).The objective of this article is twofold. In the first part, I will discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I will do so against the backdrop of second-generation cognitive science-more specifically, the increasingly popular research framework of embodied cognition-and I will consider two caveats attached to its current exploitation in narrative theory. In the second part, I will attempt to cast new light on readerly mental imagery by offering a typology of what I propose to be its four basic varieties. The typology is grounded in the framework of embodied cognition, and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. It is, however, primarily based on introspection, the one tool available to me for accessing conscious experience. Even though individual predispositions towards imagery (e.g. the tendency to image more or less often, more or less vividly, in greater or lesser detail, or within specific sensory modalities) are known to differ significantly, the proposed varieties are meant to capture imagery structures operating, in full or in part, across these differences.The notion of mental imagery is used in its narrow sense here so as to capture those instances in which modern silent readers of literary narrative, while reading an expression "X," experience some form of sensory representation of what they (more or less literally) understand to be X.1 Despite individual variations in susceptibility to mental imagery, all readers experience mental images some of the time, and some readers experience them all the time (see also Sadoski and Paivio 74). Such experiences can be grounded in any sensory modality, deploying the external senses-i.e., the visual (sight), the auditory (hearing), the olfactory (smell), the gustatory (taste), and the tactile (touch)-as well as the internal senses-i.e., the interoceptive (pain, hunger, etc.), the proprioceptive (balance, limb and organ position, etc.), or the motor/kinesthetic (movement-related proprioception: effort, acceleration, etc.). They can, and very often do, combine several of these modalities.Extant theoretical literature on mental imagery thus defined is small but thematically and methodologically diverse. Authors tend to focus on highly specific questions such as those concerning the art of composing imageable face or flower descriptions, respectively (Jajdelska et al.; Scarry), or the links between spatial imagery and readers' childhood memories (Burke). As a consequence, this article is probably the first attempt to categorize readerly mental imagery in the most general of terms, as a set of distinct embodied experiences, each with a unique combination of essential properties. However, as literary scholarship is more and more accepting of crossovers into cognitive science, the theoretical literature accounting for mental imagery keeps growing steadily. The contemporary second generation of cognitive science, and especially the framework of embodied cognition, can indeed be very helpful to advancing our understanding of mental imagery and other lower-order (e.g. affective) aspects of reader response. Perhaps most notably, narrative scholars have begun to explore what goes under the name of embodied simulation (for a review, see Caracciolo, "Embodiment at the Crossroads").Embodied simulation stands for several interrelated cognitive phenomena that are currently being unraveled with the help of fMRI and other experimental methodologies and that are perhaps most notoriously represented by (but not restricted to) mirror neurons. Briefly put, it has been suggested that in the processing of language referring to sensorimotor contents, whether it is an isolated phrase such as "grab the cake" (Raposo et al. …

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Literary Narrative and Mental Imagery: A View from Embodied Cognition

L1 literacy instruction in Czechia largely relies on reading anthologies, i.e., textbooks containing short excerpts of literary texts from the 19th to 21st century. Focusing on current Year 3 anthologies (N = 13), we have developed a simple, scalable and transferable analytical procedure examining what types of characters (male, female, animal, other) are represented in the narratives included (N = 530), what experience dimensions (cognition, emotions, bodily engagement) these characters are attributed, and on what levels of complexity. We found that female characters overall are strongly underrepresented in the anthologies, including excerpts from the most recent children’s literature which is predominantly authored by women. Further, female characters show lower complexity than male characters in emotions, bodily engagement, and especially cognition. In a concluding case study of one particular text, we demonstrate how even excerpts with relatively complex characters of both genders may tend to perpetuate deeper imbalances. Our approach provides an experientially nuanced alternative to traditional content analysis yet its more basic steps remain easy to use for practitioners in selecting literary texts for teaching. It can be applied in research anywhere but also in designing classroom activities exploring diversity in stories, whether the focus is gender, ethnicity, or other.

Complex characters of many kinds?

Research in the intersections of literature, media, and psychology increasingly examines the absorbing story experiences of adult readers, typically relying on quantitative self-report questionnaires. Meanwhile, little work has been done to explore how being “lost in a book” is experienced by children, despite the phenomenon’s importance for literacy education. Such work requires tools that are more inductive and child-centered than questionnaires. We have conducted a Q methodology study with participants aged 9–12 (n = 28), exploring how it feels for them when the mind and body are attuned to a story and how different facets of absorption (e.g., mental imagery, emotional engagement) inform the experience. Participants numerically sorted 24 cards expressing inner states and expectations relating to book-length fiction reading and were subsequently interviewed regarding their sorting choices. The cards were generated inductively based on preliminary research (focus groups, individual interviews, observations). By-person factor analysis of the sortings combined with reflective thematic analysis of the post-sorting interviews revealed four distinct reader subjectivities, or perspectives: Growth, Confirmation, Attachment and Mental Shift. Crucially, the children in these groups differed as to prominent dimensions of absorption but also as to the overall place of reading in their inner and everyday lives. Based on the four perspectives, we demonstrate that children have varied ways of being absorbed when reading fiction, and reflect on the affordances of Q methodology as a suitable child-centered approach to studying the subjective experiences of reading.

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Anezka Kuzmicova

Papers

Literary Narrative and Mental Imagery: A View from Embodied Cognition

Complex characters of many kinds?

Children’s perspectives on being absorbed when reading fiction: A Q methodology study