This volume offers a state-of-the-art collection of studies in the rapidly growing interdisciplinary field of cognitive poetics. In coupling cognitive linguistics and poetics, cognitive poeticians aim to offer cognitive readings of literary texts. By bringing together key players and critics in a setting of interdisciplinary dialogue, this volume captures the goals, gains and gaps of this emerging field.

This is a theoretical and methodological statement of what isn't and what is Cognitive poetics. It is focused on Peter Stockwell's discussion of deixis; but, I claim, much of what I have to say on Stockwell's work would apply to some degree to the work of many other critics. I argue that Stockwell translates traditional critical terms into a "cognitive" language, but does not rely on cognitive processes to account for issues related to the texts discussed; (...) and that he uses these terms to label or classify poetic expressions rather than point out their interaction in generating poetic effects. The present paper does not presume to tell what is the "correct" way to handle those terms, but attempts to give examples of how the same terms could be used with reference to cognitive processes, so as to account for poetic effects. (shrink)

Narrative theories of personal identity have traditionally taken literary characters as models to better understand how our identities are constituted through the narratives of our lives. However, there have been several recent criticisms of these comparisons, showing that philosophers of personal identity paid no attention to the nature of literary characters, and consequently, these philosopher’s comparisons were under-motivated. In the present article, I rely on a cognitive framework to define literary characters. From that point of view, I assert that (...) it is fruitful to compare ourselves with literary characters to understand the role that the narratives told by others about ourselves play in the constitution of our own personal identities. (shrink)

This book studies how poetic structure transforms verbal imitations of religious experience into concepts. The book investigates how such a conceptual language can convey such non-conceptual experiences as meditation, ecstasy or mystic insights. Briefly, it explores how the poet, by using words, can express the ‘ineffable’. It submits to close reading English, French, German, Spanish, Italian, Armenian and Hebrew texts, from the Bible, through medieval, renaissance, metaphysical, and baroque poetry, to romantic and symbolistic poetry.

An influential body of recent work on moral psychology has stressed the interconnections among ethics, narrative, and empathy. Yet as Patrick Colm Hogan argues, this work is so vague in its use of the term 'narrative' as to be almost substanceless, and this vagueness is in large part due to the neglect of literary study. Extending his previous work on universal story structures, Hogan argues that we can transform ill-defined intuitions about narrative and ethics into explicit and systematic accounts of (...) the deep connections between moral attitudes and narratives. These connections are, in turn, inseparable from empathy, a concept that Hogan proceeds to clarify and defend against a number of widely read critiques. In the course of the book, Hogan develops and illustrates his arguments through analyses of global narratives, constructing illuminating ethical interpretations of literary works ranging from Shakespeare to Chinese drama and the Bhagavad Gita. (shrink)

This is a theoretical and methodological statement of what isn't and what is Cognitive poetics. It is focused on Peter Stockwell's discussion of deixis; but, I claim, much of what I have to say on Stockwell's work would apply to some degree to the work of many other critics. I argue that Stockwell translates traditional critical terms into a “cognitive“ language, but does not rely on cognitive processes to account for issues related to the texts discussed; (...) and that he uses these terms to label or classify poetic expressions rather than point out their interaction in generating poetic effects. The present paper does not presume to tell what is the “correct“ way to handle those terms, but attempts to give examples of how the same terms could be used with reference to cognitive processes, so as to account for poetic effects. (shrink)

In this paper we examine the effect of two cognitive variables, Semantic Neighborhood Density and Interpretive Diversity, in first, distinguishing between literary (poetic) and nonliterary metaphor, and second, in determining what makes for a good metaphor. Analyses of items taken from a widely used set ofmetaphor norms indicated that while literary and nonliterary metaphor did not differ in many ways, the poetic items tended to 1) contain concepts that came from a more dense semantic space, 2) contain topic and (...) vehicles that came from equally dense semantic space, 3) suggest a greater number of possible interpretations as the topic and vehicle became more semantically dissimilar, and 4) evoke more emergent interpretations (i.e., less likely to be a characteristic of the topic or vehicle when considered separately). In addition, we found one way that the two variables were related to metaphor goodness: better metaphors were those with vehicles that came from increasingly less dense semantic space. This correlation was only reliable for literary, poetic items, presumably because these items were taken from a richer semantic environment suggesting many more alternative possibilities. (shrink)

This article considers an apparent tension between, on the one hand, a widespread belief among literature teachers that the appreciation of a poem involves an experience of form-content inseparability and, on the other hand, these same teachers’ use of paraphrase to encourage appreciation. Using Terrence Deacon’s model of art experience, I argue that the tensions of this ‘paraphrase paradox’ mirror tensions inherent in poetic experience. Section II draws upon work by Rafe McGregor, Peter Lamarque, and Peter Kivy to frame an (...) approach to the form-content distinction, and to offer a brief overview of the paraphrase paradox. Sections III-IV summarize Deacon’s model of aesthetic experience, and argue that this model implies that poetic experience both triggers an impulse towards paraphrase, and frustrates this impulse. Section V looks at implications for the poetry teacher’s attempts to navigate the paraphrase paradox. Section VI tests these implications through an analysis of Philip Larkin’s poem ‘Faith Healing’. (shrink)

Job Jindo applies recent studies in cognitive science and explores how we can view metaphor as the very essence of poetic prophecy—namely, metaphor as an indispensable mode to communicate prophetic insight.

Cognitive Iconology is a new theory of the relation of psychology to art. Instead of being an application of psychological principles, it is a methodologically aware account of psychology, art and the nature of explanation. Rather than fight over biology or culture, it shows how they must fit together. The term “cognitive iconology” is meant to mirror other disciplines like cognitive poetics and musicology but the fear that images must be somehow transparent to understanding is calmed (...) by the stratified approach to explanation that is outlined. In the book, cognitive iconology is a theory of cognitive tendencies that contribute to but are not determinative of an artistic meaning. At the center of the book are three case studies: images depicted within images, basic corrections to architectural renderings in images, and murals and paintings seen from the side. In all cases, there is a primitive perceptual pull that contribute to but do not override larger cultural meaning. The book then moves beyond the confines of the image to behavior around the image, and then ends with the concluding question of why some images are harder to understand than others. Cognitive Iconology promises to be important because it moves beyond the turf battles typically fought in image studies. It argues for a sustainable practice of interpretation that can live with other disciplines. Ian Verstegen is an art writer and historian living in Philadelphia. He is the author of Arnheim, Gestalt and Art (2005) and A Realist Theory of Art History (2012). (shrink)

This paper is an attempt at developing a poetic ontology of the senses through an understanding of poetry, or more importantly the poetic as such, i.e., the movement, temporality, and various antinomies within poetic gesturing which interrupt the logic of closed meaning and totalization. Through a range of philosophers such as Nietzsche, Heidegger, Derrida, and Jean-Luc Nancy, amongst others, and primarily the poetry of Pessoa and Rilke, the paper investigates how poetry (poetics) may not only show us a path (...) toward a poetic ontology (thus an ontology in correlation with the senses and movements of natural and material existence), but furthermore point us toward the possibility of an ethical becoming which mirrors the movements of poetry, in contrast to following the rigid structures of absolute and fixed meaning. The overall intention in this analysis is not to find a clear, complete, or overarching thought which may point us toward the ethical or the good. The attempt here is to show that ethics is an activity, a continuous becoming (analogous to poetics) that can be sensed through a way of being in the world, and "being-with" the world, as compared to simply understood through cognitive forms of abstract knowledge. (shrink)

Poetry is a process. While people typically refer to poems as textual objects, our experience of poetry is inherently embodied and enacted, meaning that we experience poems as events that we contextualize as gestalt representations. We experience metaphors, too, as processes, which arise from experiential gestalts, that extend gestalt structures and lay the conceptual foundation for our experience of the world. This article argues that, like metaphors, poetic gestalts can be mapped onto other experiences to help people navigate their worlds. (...) While this kind of poetic thought has largely been considered by scholars to have existed only since the emergence of the modern human mind sometime in the last 60,000 years, the author suggests that poetic thought likely arose prior to modern cognition, and may have in fact given rise to it. A crucial aspect of the embodied and enactive approach to poetry outlined in the article is that people’s experience of poetry is fundamentally contextual and emotional. Furthermore, because emotions are a primary source of meaning, our emotional responses to poetry make it a useful tool for extending our own conceptual apparatuses, enhancing emotional intelligence, and for generating shared values. (shrink)

Caretaker-infant attachment is a complex but well-recognized adaptation in humans. An early instance of (or precursor to) attachment behavior is the dyadic interaction between adults and infants of 6 to 24 weeks, commonly called "babytalk." Detailed analysis of 1 minute of spontaneous babytalk with an 8-week infant shows that the poetic texture of the mother’s speech—specifically its use of metrics, phonetics, and foregrounding—helps to shape and direct the baby’s attention, as it also coordinates the partners’ emotional communication. We hypothesize that (...) the ability to respond to poetic features of language is present as early as the first few weeks of life and that this ability attunes cognitive and affective capacities in ways that provide a foundation for the skills at work in later aesthetic production and response. By linking developmental social processes with formal cognitive aspects of art, we challenge predominant views in evolutionary psychology that literary art is a superfluous byproduct of adaptive evolutionary mechanisms or primarily an ornament created by sexual selection. (shrink)

This book brings together researchers with cognitive-scientific and literary backgrounds to present innovative research in all three variations on the possible interactions between literary studies and cognitive science. The tripartite structure of the volume reflects a more ambitious conception of what cognitive approaches to literature are and could be than is usually encountered, and thus aims both to map out and to advance the field. The first section corresponds to what most people think of as "cognitive (...) poetics" or "cognitive literary studies": the study of literature by literary scholars drawing on cognitive-scientific methods, findings, and/or debates to yield insights into literature. The second section demonstrates that literary scholars needn't only make use of cognitive science to study literature, but can also, in a reciprocally interdisciplinary manner, use a cognitively informed perspective on literature to offer benefits back to the cognitive sciences. Finally, the third section, "literature in cognitive science", showcases some of the ways in which literature can be a stimulating object of study and a fertile testing ground for theories and models, not only to literary scholars but also to cognitive scientists, who here engage with some key questions in cognitive literary studies with the benefit of their in-depth scientific knowledge and training. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 207-215 [Access article in PDF] Notes and Fragments Poetics of Sentimentality Rick Anthony Furtak IN HIS MAJOR WORK, The Passions, Robert Solomon argues that emotions are judgments. 1 Through a series of persuasive examples, he shows that emotions are best understood as mental states which involve certain beliefs about the world. This means that every emotion has an object: if I am angry (...) at John for stealing my car, the object of my anger is the fact (or what I take to be a fact) that my car has been stolen by John. If I find out that this is not the case, that my car has not even left the garage, then my anger should vanish along with its justification. 2 The key point here is that anger, like any other emotion, may be reasonable or inappropriate depending on the situation. If there is nothing to be angry about, then it would be irrational for me to cultivate anger simply because I enjoy having this particular emotion. In general, emotional responses are cognitively flawed whenever they are at odds with the properties of their objects. If we want our judgments to be realistic and not delusional, then we must avoid this kind of error.It is curious, then, that Solomon has written an essay in which he categorically declares that "there is nothing wrong with sentimentality." 3 For it would appear that his theory of emotion provides precisely the terms needed in order to specify what is wrong with it. If emotions are judgments, then "sentimentality" ought to be an important critical term to designate the habit of having emotions that involve either impaired or mistaken judgment. Nevertheless, Solomon is willing to defend any and every episode of tender emotion, of the kind associated with the [End Page 207] death of Little Nell in The Old Curiosity Shop (S, p. 240). He suggests that the more we can muster up this sort of response to literature or life, the better. What he seeks to encourage, in other words, is what Hume would call "delicacy" of (aesthetic) taste and of (ethical) passion. 4 But while Hume acknowledges that sensitivity to beauty and to ugliness are two sides of the same coin, such that anyone who is susceptible to lively enjoyments is also liable to undergo pungent sorrows, Solomon wants to promote only the tender aspect of emotion.On the principle of passionate maximization, it is good if I can be tenderly affected by a poem—any poem! The problem with such crass emotion-stoking is that it precludes the possibility of distinguishing between, for instance, the two stanzas below. Both are by Wilfred Owen: the first was written in 1914 and the second in 1918. 5 I O meet it is and passing sweet To live in peace with others, But sweeter still and far more meet To die in war for brothers. II Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of tired, outstripped Five-Nines that dropped behind. Only if emotions did not involve rational judgment could a person's passionate response to these two stanzas be a matter of indifference. But it seems that, on the contrary, an essential component of understanding them is recognizing that they express irreconcilable cognitive attitudes. The tone of the 1918 stanza is strikingly different from that of the earlier one, even though they share roughly the same topic. The latter stanza is stark and ominous, and filled with vivid detail; the one from 1914 is sweet and vague. Clearly, we might describe the earlier of the two as "sentimental"—the question is, what kind of judgment does [End Page 208] it involve? I suggest that its insipid jingles endorse the view that war is a delightful opportunity to nurture brotherhood and gain... (shrink)

갈등은 일차적으로 개인(주관)의 심리문제일 것이지만, 결국은 사회(주체)의 정치적 문제가 된다. 그리고 이 정치적 문제는 갈등의 제거가 아니라 갈등의 승인에서 가능하다. 이는 갈등에 대한 정치적 논의가 사회적 현실에 대한 “탈구와 재구성”의 역학, 즉 ‘해방의 변증법’을 수반하는 ‘갈등의 위상학’을 통해 이루어져야 한다는 것을 의미한다. 주체에 억압된 욕망, 부연하자면 ‘존재론적 욕망’으로 회귀하며 “내재성”의 논리에 입각해 갈등의 ‘위상학’(topology)을 선명히 가리킨 것은 현대의 철학, 특히 후설 이후 메를로퐁티와 하이데거, 그리고 라캉과 들뢰즈의 철학이었다. 이 글은, 이들에 함축된 ‘시(詩)적 인식’의 위상학적 양상을 메를로퐁티의 관점으로 수렴하는 자리에서, 갈등이 (...) 갖는 해방의 변증법적 의의를 짚은 후, 우리사회에서 폭발하는 갈등이 위기가 아니라 사실은 〈외재적 초월의 유토피아적 허구를 넘는 ‘내재적 초월’의 현실에 입각해 정치적 상상력을 재정립할 기회〉의 한 계기임을 제시할 것이다. (shrink)

Poetry is fundamentally an engaged level of life in the world of readers and poets alike. It surrounds those concerned, often with an understanding that extends beyond its possibility as the comprehension of meaningful content embodied in a written or spoken artifact. For readers of poetry, memorized lines and rhythms emerge seemingly out of nowhere to be recited, and poets often tell us that lines, rhythms and linguistic content often appear without prompting as they are carried away in writing poetry. (...) Yet literary studies and phenomenology have tended to focus either on the poetic artifact and its cognition, or poetry as a special sphere and mode of revelation. This paper seeks to question the experience of the poetic as a special level of life and an embodied activity, and sketches some points of entry in which we can enter into a discussion on the poetic as such. (shrink)

This paper intends to understand the experience of enlightenment in Zen Buddhism from a perspective of poetics. Enlightenment is understood as an existential breakthrough, which delivers people from the habitual or conventional mind set into new horizon of consciousness. This breakthrough takes place in one’s overall consciousness rather than only in cognitive thought. Therefore, it cannot be adequately described on an abstract level with a conceptual paradigm. The poetic language provides a significant alternative for capturing this leap and (...) revealing the spiritual meaning and the practical wisdom of enlightenment. Enlightenment, as concrete experiences in the “flux” of the mind, can be most directly expressed and effectively transmitted in poetic language. (shrink)

This article explores the role of affect in the disorganized language and thought that can manifest itself in bipolar disorder. Bipolar disorder, or as it was previously known, manic-depressive illness, can produce psychotic language and thought in its more extreme forms. During the production of discourse in bipolar disorder, there is a strong correlation between the underlying affective state, i.e., depression, euthymia, hypomania, and mania, and linguistic and cognitive performance. A psycholinguistic model of the dynamics between language, thought, and (...) affect in bipolar disorder based on McNeill¿s concept of a ¿Growth Point¿ is proposed. In particular, the poetic structural phases of discourse production in bipolar disorder, which vary according to the underlying affective state, provide a phenomenological bridge between the psychotic discourse of mania and normal language production. (shrink)

This article examines the textual rendering of space in Nevil Shute’s On the Beach and Cormac McCarthy’s The Road, two novels depicting the ancient trope of apocalypse. Contributing to the study of geography in literature, it argues that these authors manipulate perspective, language and content to distort the familiar shape of spatial units, creating story worlds that resonate with a crisis of scale. Inverting the spatial enlargement produced by globalisation, they depict societies ruined by a global network they cannot “cognitively (...) map.” The consideration of scale is crucial to fully understanding the sense of crisis apparent in contemporary apocalyptic fiction, which manifests, in our era of global connectedness, as an anxiety about the extent of human activity. (shrink)

This article explores the role of affect in the disorganized language and thought that can manifest itself in bipolar disorder. Bipolar disorder, or as it was previously known, manic-depressive illness, can produce psychotic language and thought in its more extreme forms. During the production of discourse in bipolar disorder, there is a strong correlation between the underlying affective state, i.e., depression, euthymia, hypomania, and mania, and linguistic and cognitive performance. A psycholinguistic model of the dynamics between language, thought, and (...) affect in bipolar disorder based on McNeill's concept of a “Growth Point“ is proposed. In particular, the poetic structural phases of discourse production in bipolar disorder, which vary according to the underlying affective state, provide a phenomenological bridge between the psychotic discourse of mania and normal language production. (shrink)

Why should poets choose to repeat concrete sounds or abstract structures when conveying their poetic messages? After all, it would seem that repetition tends to slow down comprehension and require greater cognitive effort. The key to understanding the rationale behind these poetic devices is the communicative principle of relevance proposed by Sperber and Wilson: interlocutors communicate on the assumption that what is being said is relevant in the communicative context. But how things are said is also relevant: poets create (...) patterns for pragmatic, communicative reasons. Poetic devices also promote affective states, which cannot be reduced to cognitive ones. (shrink)

Review of Gibbs' book in which he argues against the twin assumptions that language is inherently literal, and that thought itself is literal. Metaphors, etc., are omnipresent in language, Gibbs argues, and the mind is inherently 'poetic', i.e., it engages in figurative thinking. For example, we conceptualize anger as "ANGER IS HEATED FLUID IN A CONTAINER" (p. 7), and as a result, that is how we talk about anger ('Bill is getting hot under the collar,' 'She blew up at me', (...) etc.). (shrink)

In this multidisciplinary book, mathematician Matthew He provides integrative perspectives of algebraic biology, cognitive informatics, and poetic expressions of the human mind. Using classical Pythagorean Theorem and contemporary Category Theory, the proposed matrix models of the human mind connect three domains of the physical space of objective matters, mental space of subjective meanings, and emotional space of bijective modes; draws the connections between neural sparks and idea points, between synapses and idea lines, and between action potentials and frequency curves.

What is the future of the poetic figures in a technological and scientific world where a more restricted view appears to be emerging as to what is adequate and relevant about metaphors? What part should the radical trope play in a script where the figures that are heralded are usually those that are perceived as having practical importance, i.e., those that fill in the gaps of existing knowledge? It will be the intent of this paper to show that the current (...) preoccupation of much of philosophy and psychology with structural explanation and cognitive theory has certainly contributed to establishing a coordinated and unified theory of metaphors, but left unto itself such a concern is severely limited and does not adequately explain the full potential of metaphorical expressions. (shrink)

This article explores the question of the cognitivity of the arts. It begins from Kundera’s argument that the novel, originating from Cervantes, offers a response toGalileo and solution to Husserl’s diagnosis of a “crisis of European sciences.” Expanding to the full range of literary arts, we next undertake a re-reading of Aristotle’s Poetics to assess Aristotle’s views of the origins of tragedy and press for a cognitive interpretation of the meaning of catharsis and emotions. Finally, turning to the (...) abstract expressionism of Barnett Newman, we develop a cognitive interpretation of visual arts and the non-figurative aesthetic of the sublime. (shrink)

This article explores the question of the cognitivity of the arts. It begins from Kundera’s argument that the novel, originating from Cervantes, offers a response toGalileo and solution to Husserl’s diagnosis of a “crisis of European sciences.” Expanding to the full range of literary arts, we next undertake a re-reading of Aristotle’s Poetics to assess Aristotle’s views of the origins of tragedy and press for a cognitive interpretation of the meaning of catharsis and emotions. Finally, turning to the (...) abstract expressionism of Barnett Newman, we develop a cognitive interpretation of visual arts and the non-figurative aesthetic of the sublime. (shrink)

The article deals with Heidegger’s attitudes towards theology. Heidegger, stating that existential philosophy and theology are incompatible, advances a thesis of not objectivating poetic thinking. Whereas, Ricoeur’s biblical hermeneutics is based on his theory of metaphor. The lingual act here means the destruction of the old outlook for the sake of the new one. In this dramatic way cognition occurs as a meeting. The poetic thinking of the late Heidegger is also based on a meeting that covers both horizontal coexistence (...) and vertical direction. The author raises the question whether the poetic thinking of the late Heidegger is not theological? (shrink)

This is a theoretical and methodological statement of what isn’t and what is Cognitive poetics. It is focused on Peter Stockwell’s discussion of deixis; but, I claim, much of what I have to say on Stockwell’s work would apply to some degree to the work of many other critics. I argue that Stockwell translates traditional critical terms into a “cognitive” language, but does not rely on cognitive processes to account for issues related to the texts discussed; (...) and that he uses these terms to label or classify poetic expressions rather than point out their interaction in generating poetic effects. The present paper does not presume to tell what is the “correct” way to handle those terms, but attempts to give examples of how the same terms could be used with reference to cognitive processes, so as to account for poetic effects. (shrink)

Cognitive Stylistics or Poetics has emerged as a powerful framework for the analysis of literary works due to the fact that it provides us with tools stemming from bodily experience which aim at universality. This proposal attempts to shed additional light on the analysis of the characters and settings carried out by Freeman (1995) by making use of some recent developments within the framework of Cognitive Linguistics, especially in connection with metonymy and image-schemas. It lends further support (...) to the thesis that Cognitive Poetics is endowed with explanatory power since it accounts both for the processes of generation and understanding of literary texts. (shrink)

The classical Indian variety of history may be called ‘istory’. It is not completely true that no real importance was attached to istory in classical India. But much of oral istorical literature is lost since—perhaps—narrating istory was considered a performance. Unlike historical narratives, istorical narratives are presentative, not representative. Istory can be understood as a system of narrating past events that has a purpose and poetic beauty. Finally, the paper will argue that istory is based on cognitive tools of (...) two types: epistemic tools such as testimony, inference, tarka and aesthetic tools. Thus, it has a hybrid cognitive method. (shrink)

Anglophone philosophers have shown a surprising interest in Alexander Gottlieb Baumgarten’s aesthetics in recent years. At the same time, new approaches to aesthetics have been proposed that come very close to the original conception of aesthetics that Baumgarten introduced in the middle of the eighteenth century. In light of these developments, this article undertakes a critical examination of a central concept in Baumgarten’s poetics and aesthetics—extensive clarity. It argues that historians of philosophy and contemporary aestheticians should be wary of (...) this concept for two reasons. First, in Baumgarten’s poetics, the extensive clarity of sensible representations constitutes a dubious standard with which to determine whether those representations are “poetic.” Second, in aesthetics, using extensive clarity as an alternative standard with which to determine the perfection of sensible cognition undermines the “marriage of reason and experience” that characterized the Leibnizian-Wolffian philosophy and raises the specter of dualism that Kant tried, with questionable success, to address in the ‘Schematism’ chapter of the Critique of Pure Reason. The article concludes that historians of philosophy should acknowledge the philosophical shortcomings of Baumgarten’s conception of extensive clarity and contemporary aesthetics should not reproduce them. (shrink)

This paper proposes a theory of text on-screen as “unvoiceover.” It addresses both the case for captioning as social good and the affordances (aesthetic, affective) of writing in or over the moving image. Advancing an argument informed by perspectives from d/deaf Studies, Critical Disability Studies and Digital Interface Studies, and applying modes of analysis from literary criticism alongside those proper to the study of moving image and sound, it examines the idiosyncrasies of text-in-motion as non-sonorous, fugitive counterpart to the traditional, (...) troublesome “voiceover.” To develop a poetics of the unsounding voice on-screen, the paper focalizes its argument through multimedia artist Liza Sylvestre’s Captioned series: a body of moving image work that is itself, paradoxically, uncaptioned. Framing Sylvestre’s lyrical “unvoiceover” as a reimagining of the lost roles of film explainers and literary intertitles, I argue that the artist’s takeover of the caption track intervenes critically in contemporary debates about the ethics of audio-visual translation, situated description and access as public ethos rather than private concern. Posing the artist’s personal-and-political writing as suggestive of a lower-case analogue to Deaf Gain, I show how Sylvestre’s “unvoiceover” educates its “receivers” in the purpose and functioning of captions. By reading Sylvestre’s writing on-screen more closely than its fugitive form seems to invite, I show how the unvoiceover encultures its own demands on its readers and elicits its own habits of reading. By scrutinizing how Sylvestre’s series makes the case for captioning, this paper makes the case for a new appraisal of the aesthetic, affective and political affordances of the unvoiceover as writing on the run. (shrink)

Since the 1950s, the cognitive revolution has been transforming work in psychology, linguistics, and anthropology. Literary scholars, however, have only recently begun to grapple with the significance of cognitive understandings of language, mind, and behavior for literary and cultural studies. This unique issue of Poetics Today brings the concerns of literary history and cultural studies for the first time into a sustained and productive dialogue with cognitive methods, findings, and paradigms.The introduction situates the collection in relation (...) to previous work, defines the issues, highlights the stakes. Articles by Mark Turner and Paul Hernadi propose a bold extension of notions of literary history to include not only preliterature oral forms but the entire history of the species, viewing literary activity as a crucial human adaptation. Ellen Spolsky's essay provides an unprecedented statement of common ground shared by cognitive-evolutionary approaches and poststructuralist theory. The final three essays examine works by Aphra Behn, A. L. Barbauld, and Jane Austen in terms of their contemporary cultural and political contexts as well as in light of paradigms drawn from cognitive neuroscience and evolutionary theory. A commentary by Tony Jackson surveys the entire issue from the viewpoint of an informed outsider. (shrink)

The place of emotions in aesthetic response has long been a topic in contemporary philosophical theorizing. One aspect of the debate in particular seems to have become a recalcitrant problem: when experiencing fiction, we experience emotional reactions towards what we know not to exist. Is this rational? In fact, is it even possible? This article deals with the so‐called “paradox of fiction” from the viewpoint of ancient poetics. In the first section, I survey some of the main arguments proposed (...) to (dis)solve the paradox in analytic philosophy. In the second and the third sections, I address what I consider two problematic assumptions of existing analytic approaches: their prescriptive, “essentialist” attitude and their exclusive focus on matters of content. By offering a brief sketch of the ancient principles of “likelihood” and “vividness”, I argue that they provide a direct and cognitively realistic answer to the paradox insofar as they account for the neutralization of doxastic features in imaginative acts and ground affective responses to fiction in the phenomenon of “aesthetic immersion”, explained in experiential, rather than representational, terms. (shrink)