Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The outside world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the governing laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Several lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual \"filling in,\" visual stability despite eye movements, change blindness, sensory substitution, and color perception.

A sensorimotor account of vision and visual consciousness-Authors' Response-Acting out our sensory experience

In the first two volumes of this work, Paul Ricoeur examined the relations between time and narrative in historical writing, fiction, and theories of literature. This final volume, a comprehensive reexamination and synthesis of the ideas developed in volumes 1 and 2, stands as Ricoeur's most complete and satisfying presentation of his own philosophy.

Time and Narrative

basic research and clinical data in an attempt to derive a cohesive model which explains the behavioral effects of the drug. Johnson is an experimental psychologist, and his work underlies many of the chapters which suggest that lithium decreases the behavioral response to novel external stimuli. He then utilizes this foundation to propose a cognitive model for lithium's anti-manic action, its inhibition of violent impulsivity, and its prophylactic effects in recurrent depression. Previous formulations which were clinically based, such as that of Mabel Blake Cohen and her associates, stressed the primacy of depression and noted the \"manic defense\" as an attempt to ward off intolerable depression. In direct contrast, Johnson views mania as the primary disturbance in bipolar disorder. He considers depression in bipolar disease as an over-zealous homeostatic inhibitory responsf to a maniaassociated cognitive overload. Consistent with this, he believes, lit lum exerts its anti-manic effect by decreasing cognitive processing in a manner analogous to his animal studies. Johnson also suggests that lithium exerts its prophylactic effect in recurrent depressions by treating subclinical mania. These concepts are supported by the work of Johnson's associate, Kukopulos, to whom the book is dedicated. The bulk of the research which describes the cognitive disturbance in mania is complex, however, and uncomfortably open to multiple interpretations. Recognized as a preliminary effort, Johnson's formulation may help to guide further research. Although Johnson clearly traces lithium actions through a broad range of subjects, his discussion of the neurophysiological aspects of this drug is notably spotty. In particular, Johnson ignores the work of Svensson, DeMontigny, Aghajanian, and others who suggest that serotonergic systems may play an important role in the antidepressant actions of lithium. As a result, he fails to discuss one of the most important current uses of lithium: as an agent used in conjunction with antidepressant medications to increase treatment response in medication-resistant forms of depression. Lithium augmentation of antidepressant medication also challenges the formulation presented by Johnson. This formulation suggests that lithium should have no therapeutic value in patients, such as those with endogenous depression, who already \"under-process\" cognitive information. The omission of lithium augmentation in depression is clearly unfortunate in this text. Overall, this volume demonstrates the benefits of a single-authored text. It it clearly organized and readable. The bibliography is also broad and useful. In this book, Johnson primarily addresses a research audience, and his model seems designed to stimulate thought rather than to improve clinical technique. In this capacity, his book will be of most interest to behavioral psychologists. Other books, focusing purely on clinical data, may be more useful to clinicians. Nevertheless, the clear organization, the large bibliography, and the thoughtful presentation may make this text a useful addition to a clinical library as well.

The Body in Pain: The Making and Unmaking of the World.

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Cognition In The Wild

Preface Introduction: The Role of the Reader I. Open 1. The Poetics of the Open Work 2. The Semantics of Metaphor 3. On the Possibility of Generating Aesthetic Messages in an Edenic Language II. Closed 4. The Myth of Superman 5. Rhetoric and Ideology in Sue's Les Mysteres de Paris 6. Narrative Structures in Fleming III. Open/Closed 7. Peirce and the Semiotic Foundations of Openness: Signs as Texts and Texts as Signs 8. Lector in Fabula: Pragmatic Strategy in a Metanarrative Text Appendix 1 Appendix 2 Bibliography

The Role of the Reader: Explorations in the Semiotics of Texts

Leon Festinger’s account of cognitive dissonance, published in 1957, has become one of the most successful theories in the history of social psychology. I argue that Festinger’s framework—and the research it generated over the last sixty years—can shed light on key aspects of readers’ engagement with literary characters. Literature can invite the audience to vicariously experience characters’ dissonance through an empathetic mechanism, but it can also induce dissonant states in readers by encouraging them to take on attitudes and beliefs that are significantly different from their own. I suggest that there are two strategies—or patterns of reader-response—through which the audience can cope with the dissonance between their own worldview and the characters’: attitude change and imaginative resistance. In the first, readers adjust their own beliefs and values according to what they have experienced and learned in adopting characters’ perspectives. By contrast, in imaginative resistance readers’ worldview prevents them from establishing an empathetic bond with characters. I integrate these hypotheses into a model that builds on theoretical as well as empirical insights into reader-response.

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Patterns of Cognitive Dissonance in Readers' Engagement with Characters

Introduction Narratologists and literary scholars have often drawn attention to the problematic role of interpretation within cognitive approaches to narrative and literature (see Jackson; Easterlin 20-27; Ryan). How is it possible to reconcile literary interpretation as a specifically cultural form of meaning-making with the generalizing aims and reductionist methods of the cognitive sciences? This discussion on the scientific status of interpretation goes back at least to Wilhelm Dilthey's distinction between "Erklarung" (causal explanation, the goal of scientific investigation) and "Verstehen" (interpretive understanding as practiced in the human sciences; see Gallagher). "Erklarung" attempts to explain phenomena through scientific methods, in terms of their underlying causes, while "Verstehen" makes sense of human agency and cultural practices by referring to their subjective significance. Focusing on the integration of knowledge across disciplinary boundaries, today's theories of "consilience" (Wilson) and "vertical" or "conceptual integration" (Barkow, Cosmides, and Tooby; Slingerland 9-11) have put the relationship between scientific knowledge and interpretation--"Erklarung" and "Verstehen"--back on the agenda of interdisciplinary research. As Wilson himself suggests, "[!Interpretation is the logical channel of consilient explanation between science and the arts" (230). Interpretation is where the divergences between scientific and humanistic methods are at their most evident, thus representing a crucial test bed for any cognitive approach to cultural artifacts. Evolutionary critics such as Joseph Carroll, Brian Boyd, and Jonathan Gottschall have made a step towards a fully consilient literary criticism,2 but as Nancy Easterlin notes their (and especially Carroll's) "strong appeal for scientific study ultimately [points] in the direction of a very different kind of discipline, one that perhaps locates human nature rather than literature as it primary object of study" (18). As Easterlin puts it, restating Dilthey's opposition, there is no obvious way in which the "unimaginable complexity of interpretation" (20; see also Nordlund) can be subjected to scientific procedures of hypothesis testing and validation. My article takes on board the difficulty of closing the gap between literary interpretation and scientific knowledge and responds to this difficulty by sidestepping it: if the gap cannot be closed, it can at least be bridged--or so I will suggest. Rather than attempting to reduce interpretation to scientific methods or even theories, I would like to explore how these two domains of inquiry are or could be related across the gap: literary interpretation may not sit comfortably with the goals or methods of scientific inquiry, but it still addresses, and can interact with, processes that fall under the purview of the hard sciences. Perhaps zooming in on these processes will reveal something about the structures that underlie the sheer diversity and complexity of interpretation. This article proposes that the notion of embodiment--which lies at the core of the second-generation cognitive sciences (Lakoff and Johnson)--can provide a link between hermeneutics and bio-evolutionary and cognitive levels of analysis. Embodiment is an existential condition, our being tied to biologically finite and phenomenologically conscious bodies. As such, embodiment is an object of constant cultural reinterpretation. But human embodiment is also the result of an evolutionary history and fundamentally shapes any psychological process, from emotional responses to higher-order meaning constructions (Anderson; Gibbs). All in all, embodiment provides an integrative framework in which different levels of analysis can coexist and constrain one another while remaining distinct in their respective aims and methodological tools. I call this framework "embodiment spectrum," and I stress that this spectrum is respectful of epistemological divides as well as of what we may regard as the autonomy of interpretation--its value for its own sake, regardless of its compatibility or commensurability with scientific knowledge. …

https://www.jstor.org/stable/10.5325/style.48.3.385

Interpretation for the bodies : bridging the gap

Abstract This article explores the role of punctuation and typography in readers' engagement with literary narrative, and with fictional characters in particular. I argue that unconventional typography and punctuation marks can be used to convey the phenomenological ``feel'' of characters' (and narrators') experiences, thereby becoming a vehicle for consciousness representation in narrative. Aiming to contribute to the discussion on readers' responses to characters within cognitive narratology, I hypothesize that such responses can be guided by non-verbal cues as well as by the verbal strategies traditionally examined by narrative theorists. I explore two different dimensions of the nexus between punctuation, typography, and consciousness representation: firstly, because of their ``separating'' function graphic markers can render the temporal structuring of consciousness itself; secondly, unconventional graphic cues can exploit the ``evaluative'' function of punctuation and typography in order to convey altered states of consciousness such as dream experience, extreme emotions, and cognitive disorientation.

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Punctuating Minds: Non-Verbal Cues for Consciousness Representation in Literary Narrative

Our article reviews empirical work that claims to provide evidence for the psychological benefits and effects of engaging with literature. Psychological research has considerable potential for addressing the limitations of traditional reader-response theories, especially if such research is conducted in an interdisciplinary context where literary scholars can actively shape the experimental setup. In the first part of the article we consider the work carried out in this connection by psychologist Keith Oatley and literary scholar Frank Hakemulder, calling attention to a number of important issues that, in our view, haven’t been adequately addressed in their empirical studies. In the second part we turn to our more positive arguments, suggesting that the investigation of the psychological effects of reading cannot abstract from phenomenological data based on readers’ own self-reports. Building on philosophical and psychological views of the self as a narrative construction, we argue that the analysis of readers’ life stories may offer important insights into how literary reading can have an impact on readers. The descriptive, qualitative, phenomenological route is less fraught with presuppositions and normative assumptions than Oatley’s and Hakemulder’s approaches, and deserves being taken into serious consideration.

Changed by Literature? A Critical Review of Psychological Research on the Effects of Reading Fiction

Drawing on a corpus of online reviews, my article carries out a qualitative study of readers' responses to the child narrators of two contemporary novels, Mark Haddon's The Curious Incident of the Dog in the Night-Time (2003) and Emma Donoghue's Room (2010). What these narrators have in common is that they are both are affected by developmental disorders: Christopher, the protagonist of The Curious Incident, is on the autistic spectrum, whereas Jack – the five-year-old narrator of Room – was born and brought up in captivity. Through my analysis of the reviews I explore the interplay of defamiliarization and empathy in readers' engagement with these “strange” narrators; I also show how empathetic perspective-taking can work in tandem with sympathy (feeling for a character from an observer position).

Marco Caracciolo

Papers

Patterns of Cognitive Dissonance in Readers' Engagement with Characters

Interpretation for the bodies : bridging the gap

Punctuating Minds: Non-Verbal Cues for Consciousness Representation in Literary Narrative

Changed by Literature? A Critical Review of Psychological Research on the Effects of Reading Fiction

Two child narrators: Defamiliarization, empathy, and reader-response in Mark Haddon’s The curious incident and Emma Donoghue’s Room