A core brain network has been proposed to underlie a number of different processes, including remembering, prospection, navigation, and theory of mind [Buckner, R. L., & Carroll, D. C. Self-projection and the brain. Trends in Cognitive Sciences,11, 49-57, 2007]. This purported network-medial prefrontal, medial-temporal, and medial and lateral parietal regions-is similar to that observed during default-mode processing and has been argued to represent self-projection [Buckner, R. L., & Carroll, D. C. Self-projection and the brain. Trends in Cognitive Sciences,11, 49-57, 2007] or scene-construction [Hassabis, D., & Maguire, E. A. Deconstructing episodic memory with construction. Trends in Cognitive Sciences,11, 299-306, 2007]. To date, no systematic and quantitative demonstration of evidence for this common network has been presented. Using the activation likelihood estimation (ALE) approach, we conducted four separate quantitative meta-analyses of neuroimaging studies on: (a) autobiographical memory, (b) navigation, (c) theory of mind, and (d) default mode. A conjunction analysis between these domains demonstrated a high degree of correspondence. We compared these findings to a separate ALE analysis of prospection studies and found additional correspondence. Across all domains, and consistent with the proposed network, correspondence was found within the medial-temporal lobe, precuneus, posterior cingulate, retrosplenial cortex, and the temporo-parietal junction. Additionally, this study revealed that the core network extends to lateral prefrontal and occipital cortices. Autobiographical memory, prospection, theory of mind, and default mode demonstrated further reliable involvement of the medial prefrontal cortex and lateral temporal cortices. Autobiographical memory and theory of mind, previously studied as distinct, exhibited extensive functional overlap. These findings represent quantitative evidence for a core network underlying a variety of cognitive domains.

/pdf/the-common-neural-basis-of-autobiographical-memory-1ov7ebhi7x.pdf

The common neural basis of autobiographical memory, prospection, navigation, theory of mind, and the default mode: A quantitative meta-analysis

A core brain network has been proposed to underlie a number of different processes, including remembering, prospection, navigation, and theory of mind [Buckner, R. L., & Carroll, D. C. Self-projection and the brain. Trends in Cognitive Sciences, 11, 49–57, 2007]. This purported network—medial prefrontal, medial-temporal, and medial and lateral parietal regions—is similar to that observed during default-mode processing and has been argued to represent self-projection [Buckner, R. L., & Carroll, D. C. Self-projection and the brain. Trends in Cognitive Sciences, 11, 49–57, 2007] or scene-construction [Hassabis, D., & Maguire, E. A. Deconstructing episodic memory with construction. Trends in Cognitive Sciences, 11, 299–306, 2007]. To date, no systematic and quantitative demonstration of evidence for this common network has been presented. Using the activation likelihood estimation (ALE) approach, we conducted four separate quantitative meta-analyses of neuroimaging studies on: (a) autobiographical memory, (b) navigation, (c) theory of mind, and (d) default mode. A conjunction analysis between these domains demonstrated a high degree of correspondence. We compared these findings to a separate ALE analysis of prospection studies and found additional correspondence. Across all domains, and consistent with the proposed network, correspondence was found within the medial-temporal lobe, precuneus, posterior cingulate, retrosplenial cortex, and the temporo-parietal junction. Additionally, this study revealed that the core network extends to lateral prefrontal and occipital cortices. Autobiographical memory, prospection, theory of mind, and default mode demonstrated further reliable involvement of the medial prefrontal cortex and lateral temporal cortices. Autobiographical memory and theory of mind, previously studied as distinct, exhibited extensive functional overlap. These findings represent quantitative evidence for a core network underlying a variety of cognitive domains.

/pdf/for-review-only-the-common-neural-basis-of-autobiographical-2mmh0fz21r.pdf

For Review Only The common neural basis of autobiographical memory, prospection, navigation, theory of mind and the default mode: a quantitative meta- analysis

To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

/pdf/the-value-of-narrativity-in-the-representation-of-reality-33noyvckm3.pdf

The Value of Narrativity in the Representation of Reality

Preface (1999) Preface (1990) 1. Subjects of Sex/Gender/Desire I. 'Women' as the Subject of Feminism II. The Compulsory Order of Sex/Gender/Desire III. Gender: The Circular Ruins of Contemporary Debate IV. Theorizing the Binary, the Unitary and Beyond V. Identity, Sex and the Metaphysics of Substance VI. Language, Power and the Strategies of Displacement 2. Prohibition, Psychoanalysis, and the Production of the Heterosexual Matrix I. Structuralism's Critical Exchange II. Lacan, Riviere, and the Strategies of Masquerade III. Freud and the Melancholia of Gender IV. Gender Complexity and the Limits of Identification V. Reformulating Prohibition as Power 3. Subversive Bodily Acts I. The Body Politics of Julia Kristeva II. Foucault, Herculine, and the Politics of Sexual Discontinuity III. Monique Wittig - Bodily Disintegration and Fictive Sex IV. Bodily Inscriptions, Performative Subversions Conclusion - From Parody to Politics

Postmodern Subjects, Postmodern BodiesThinking Fragments: Psychoanalysis, Feminism, and Postmodernism in the Contemporary WestYearning: Race, Gender, and Cultural PoliticsGender Trouble: Feminism and the Subversion of Identity

The Political Unconscious: Narrative as a Socially Symbolic Act

Does reading novels evoking empathy with fictional characters really cultivate our sympathetic imagination and lead to altruistic actions on behalf of real others? Empathy and the Novel presents a comprehensive account of the relationships among novel reading, empathy, and altruism. Though readers' and authors' empathy certainly contribute to the emotional resonance of fiction and its success in the marketplace, Keen finds the case for altruistic consequences of novel reading inconclusive (and exaggerated by defenders of literary reading). She offers instead a detailed theory of narrative empathy, with proposals about its deployment by novelists and its results in readers. Empathy and the Novel engages with neuroscience and contemporary psychological research on empathy, bringing affect to the center of cognitive literary studies' scrutiny of narrative fiction. Drawing on narrative theory, literary history, philosophy, and contemporary scholarship in discourse processing, Keen brings together resources and challenges for the literary study of empathy and the psychological study of fiction reading. Empathy robustly enters into affective responses to fiction, but its proper role in shaping the behavior of emotional readers has been debated for three centuries. Keen surveys these debates and offers a series of hypotheses about literary empathy, including narrative techniques inviting empathetic response. She argues that above all readers' perception of a text's fictiveness increases the likelihood of readers' empathy, by releasing readers from their guarded responses to the demands of real others. She confirms the centrality of narrative empathy as a strategy, as well as a subject, of contemporary novelists. Despite the disrepute of putative human universals, novelists from around the world endorse the notion of shared human emotions when they overtly call upon their readers' empathy. Consequently, Keen suggests, if narrative empathy is to be better understood, then women's reading and popular fiction must be accorded the respect of experimental inquiry.

Empathy and the Novel

We are living in a time when the activation of mirror neurons in the brains of onlookers can be recorded as they witness another’s actions and emotional reactions. 1 Contemporary neuroscience has brought us much closer to an understanding of the neural basis for human mind reading and emotion sharing abilities—the mechanisms underlying empathy. The activation of onlookers’ mirror neurons by a coach’s demonstration of technique or an internal visualization of proper form and by representations in television, film, visual art, and pornography has already been recorded. 2 Simply hearing a description of an absent other’s actions lights up mirror neuron areas during fMRI imaging of the human brain. 3 The possibility that novel reading stimulates mirror neurons’ activation can now, as never before, undergo neuroscientific investigation. Neuroscientists have already declared that people scoring high on empathy tests have especially busy mirror neuron systems in their brains. 4 Fiction writers are likely to be among these high empathy individuals. For the first time we might investigate whether human differences in mirror neuron activity can be altered by exposure to art, to teaching, to literature. This newly enabled capacity to study empathy at the cellular level encourages speculation about human empathy’s positive consequences. These speculations are not new, as any student of eighteenth-century moral sentimentalism will affirm, but they dovetail with efforts on the part of contemporary virtue ethicists, political philosophers, educators, theologians, librarians, and interested parties such as authors and publishers to connect the experience of empathy, including its literary

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A Theory of Narrative Empathy

Suzanne Keen is the Thomas H. Broadus Professor of English at Washington and Lee University

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Introduction: Narrative and the Emotions

Romances of the Archive in Contemporary British Fiction is a lively discussion of the debates about the uses of the past contained in British fiction since the Falklands crisis. Drawing on a diverse and original body of work, Suzanne Keen provides a detailed examination of the range of contemporary 'romances of the archive,' a genre in which British novelists both deal with the loss of Empire and a nostalgia for the past, and react to the postimperial condition of Great Britain. Keen identifies the genre and explains its literary sources from Edmund Spenser to H.P. Lovecraft and John LeCarre. She also accounts for the rise in popularity of the archival romance and provides a context for understanding the British postimperial preoccupation with history and heritage. Avoiding a narrow focus on postmodernist fiction alone, Keen treats archival romances from A.S. Byatt's Booker Prize-winning Possession to the paperback thrillers of popular novelists. Using the work of Peter Ackroyd, Julian Barnes, Lindsay Clarke, Stevie Davies, Peter Dickinson, Alan Hollinghurst, P.D. James, Graham Swift, and others, Keen shows how archival romances insist that there is a truth and that it can be found. By characterizing the researcher who investigates, then learns the joys, costs, and consequences of discovery, Romances of the Archive persistently questions the purposes of historical knowledge and the kind of reading that directs the imagination to conceive the past.

Romances of the Archive in Contemporary British Fiction

Fast tracks for human emotional responses precede cognitive processes, according to the neuroscientific investigation of emotions such as anger and empathy1 and the psychology of “mind-reading,” via fast, unconscious recognition of facial expressions.2 Even simplified line drawings of facial expressions3 activate the “quick and dirty”4 subcortical bases of emotions that are followed by slightly slower cognitive responses routed through the neocortex. In comics and graphic narratives, illustrations of faces and bodily postures may capitalize on the availability of visual coding for human emotions, eliciting readers’ feelings before they even read the accompanying text.5 Little is known, however, about the relationship between the emotional responses evoked by visual artists’ strategies of anthropomorphizing animal faces or dehumanizing people’s faces and bodies, on the one hand, and the invitations to narrative empathy proffered by graphic storytelling, on the other hand. Drawing on my previous work on empathy vis-à-vis print narratives (see Keen, Empathy and “Strategic Empathizing”), the current essay explores the opportunities and challenges that graphic narratives pose for research in this domain. Specifically, I seek to open a conversation about the impact of emotionally charged sequences of word-image combinations used in the service of what I term ambassadorial strategic empathy. At issue are graphic narratives that reach popular audiences (including teenaged readers) with appeals for recognition and justice and ambitions to form citizens’ sense of responsibility for suffering others. I focus on two case studies that highlight how questions of medium specificity need to be taken into account in research on narrative empathy. J. P. Stassen’s (2000, trans. 2006) Deogratias: A Tale of Rwanda, a graphic narrative about a boy caught up as an unwilling participant in the Rwandan civil war and genocide, renders dehumanization vividly: the boy turns into an animal in four stark frames of transformation. Brian K. Vaughan’s 2006 Pride of Baghdad (art by Niko Henrichon) employs more traditional anthropomorphism to depict the perspectives of a group of lions escaped from the Baghdad Zoo during the invasion of Iraq. Both narratives employ what I have theorized as ambassadorial strategic empathy

Suzanne Keen

Papers

Empathy and the Novel

A Theory of Narrative Empathy

Introduction: Narrative and the Emotions

Romances of the Archive in Contemporary British Fiction

Fast Tracks to Narrative Empathy: Anthropomorphism and Dehumanization in Graphic Narratives