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

This special issue of Style investigates how writers present interior spaces (houses, drawing rooms, halls, offices, closets, etc.) in narrative literature. (1) A much greater variety of interiors could be focused on, for instance, prisons, covered markets, yacht cabins, or train compartments. The question of visual representation in narrative has been revived by recent research into readers' cognitive mapping activities and their participation in the co-creation of storyworlds. Marie-Laure Ryan commented in 2003 that "while it seems evident that narrative comprehension requires some kind of mental model of space--how else could readers imagine character movements?--the issue of the form and content of this model remains to be explored" (Ryan 216; original emphasis). According to Ryan, drawing on Linde and Labov as well as Tversky, spatial description can convey objects' intrinsic orientations relative to one another from a stable viewpoint (gaze perspective), or it can suggest a bird's-eye view that presents a totalized mental image of a specific setting in the shape of a map (216). A third possibility, one that bridges the temporal demands of narrative form and the spatial logic of a map, is the tour, which "represents space dynamically from a perspective internal to the territory to be surveyed, namely the perspective of a moving object. The tour thus simulates the embodied experience of a traveler" (Ryan 218). Though this strategy seems especially appropriate to the chronotopes associated with the novel, the demands of description antedate the novel as a genre. The rhetoric of the catalog, the discourse of the tour-guide or guidebook, the conventions of ekphrasis, and other strategies may be deployed in interior descriptions with or without a situated focalizer, the most common technique in modernist narrative. Perspectival rendering of space makes it possible for the reader to visualize objects in relation to one another, even to map the room and its contents. In response to figural narrative situations rigorously employing a focalizer whose perspective provides a consistent center of consciousness, a tacit rule holds that "the description has to be felt by the reader to depend on the vision of the character who is responsible for it, on his ability to see, and not on the knowledge of the novelist, on the contents of his files" (Hamon 149). If a character's perceptions do not govern representation of the space he or she enters or moves in, what does? In addition to enriching the evidence for a developmental account of perspectivism, arising out of earlier aperspectival techniques, this special issue contributes to the understanding of description as a component of narrative fiction. Description has been a neglected stepchild in the very large family of narratological concepts. Traditional narrative theory of the mid-twentieth century often employed description as the other against which narrative proper was defined by juxtaposition. For example, Felix Martmez-Bonati--in the opening gambit of his Fictive Discourse, dedicated to describing the stylistic features of literary language--writes: "Narration is the purely linguistic representation of change in particular persons, states of affairs, and circumstances. Description, on the other hand, is the representation of permanent, momentary, or recurring things, or events of short duration, in their unchanging aspects" (Martinez-Bonati 22). Description thus comes to occupy the space between the events that constitute story, and as an element of discourse it is perceived to delay or even halt the action: a retardatory structure (Sternberg 161) or a "relatively autonomous expansion, characteristically referential" (Hamon 148). In her 1985 original Narratology Mieke Bal charily defined description as "a textual fragment in which features are attributed to objects" (Bal 130), acknowledging that these marginally important passages are "practically and logically necessary" (129) and linking them to motivation (130-34). …

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Introduction: Narrative Perspectives and Interior Spaces in Literature Before 1850

If this chapter were charged with the task of describing twentieth-century English children's fiction, until recently a neglected category in literary histories, novels in trilogies and series would loom large. Imagine a literary history of the children's story without Joan Aiken, the Reverend W. Awdry, Enid Blyton, Susan Cooper, Brian Jacques, Michael de Larrabeiti, C. S. Lewis, Hugh Lofting, A. A. Milne, E. Nesbit, K.M. Peyton, Beatrix Potter, Philip Pullman, Arthur Ransome, J.K. Rowling, Rosemary Sutcliffe, or BarbaraWillard. Imagine never again visiting those countries of the mind where swallows and amazons rove Lakeland; where Harry, Ron, and Hermione attend Hogwarts; where descendants of British Romans witness in the dark ages the coming of a Celtic Arthur; where Mantlemass stands at the heart of Ashdown forest, persisting from the Wars of the Roses through the English CivilWar. Most readers would feel the absence of these dream countries of childhood reading, if they paused to recall the anticipation ignited by the long row of matching covers in a library or bookshop (is this the right summer to begin Noel Streatfeild's Ballet Shoes books?), or the melancholy provoked by the end of a series (still disappointed at Narnia's rolling up like a carpet?), or the bittersweet recognition that they have gotten too grown up to enjoy a series anymore (at least until reading aloud to their own children begins).

The series novel: a dominant form

How can a reader tell that a work is nonfiction? Even those who study it concede the difficulty: factual narrative actually is referential, or factual narrative claims to be referential and truthful (Schaeffer). Most readers know that the nonfiction narrative in their hands qualifies as nonfiction because it bears a label associated with a nonfiction genre. The book may have been acquired from the nonfiction section of a bookstore, where works of history, biography, or autobiography sit on shelves across the aisle from the various subgenres of fiction. The work may have come to the attention of a reader through a list: New York Times bestsellers receive separate notice in Fiction and Nonfiction listings. The book itself may bear a label, a paratextual indicator of its category. Unbroken, Laura Hillenbrand’s 2010 story of Louie Zamperini, an Olympic runner who became a prisoner of war after his airplane crashed in the Pacific, bears the paratextual label, ‘biography’ on its back cover. In the United States, the Library of Congress catalogues works of nonfiction as biographies, such as ‘Prisoners of war— United States— Biography,’ or as accounts of particular periods of history, such as ‘World War, 1939–1945— Aerial operations, American.’ Pragmatically speaking, labeling and categorizing performed by others shape most readers’ certainties about the nonfiction they read. This chapter discusses the powerful signs that Gerard Genette named ‘paratexts.’

Nonfiction and Fiction in Disguise

‘Narrative form,’ the subject of the preceding chapters, often means something entirely different from the tools and techniques described in most of this text. To the question ‘What form is this narrative?’ an interlocutor may expect an answer that names a genre. It is an epic in twelve books. It is a mystery novel, with a gathering of characters in an English country house, one of whom will be revealed to be the murderer. It begins as a psychological thriller and halfway through turns into a farce. It is a space opera. It is the third and climactic part of a fantasy trilogy. These forms (or kinds, types, or subgenres) have often been left out of theoretical discussion of narrative form, as the undignified sub-literary cousins of ‘serious fiction’ which obey no formulas, as the irrelevant impingements of ancient traditions on up-to-date narratives, or as the too-contingent categories that confute the premise of structuralist ahistoricity.1 The rejection of the idea of genre often implies that genre impedes originality, that it imposes form onto an artist’s ideas, and that it is the enemy of innovation. Yet as Claudio Guillen observes, genre is but an ‘invitation’ to combine matter and form in ways that resemble previously achieved combinations (Literature as System, 109). Neither a strict recipe nor an exclusionary tradition, genre can thus be seen as Guillen recommends, as a problem-solving model, whose usefulness is demonstrated when real writers match matter and form (Literature as System, 110–11).

Suzanne Keen

Papers

Introduction: Narrative Perspectives and Interior Spaces in Literature Before 1850

The series novel: a dominant form

Nonfiction and Fiction in Disguise

Genres and Conventions

27. Interior Spaces and Narrative Perspectives Before 1850