This study examines the linguistic construal and cognitive representation of time and viewpoint in the genre of news narratives. We present a model of mental spaces that involves a News Space in which the deictic center is construed of the news actors at the time the newsworthy events took place, and a Reality Space in which the deictic here-and-now center of journalist and reader is construed. This model explains how the dynamic representation of narrative news discourse, characterized by shifts in (...) time and viewpoint, is steered by linguistic devices. An analysis of Dutch news narratives shows that temporal adverbs such as yesterdayand shifts from present tense to past tense may signal a moveforwardin narrative time, to a viewpoint in the future relative to the narrative now-point, rather thanbackward. These atypical time shifts can be accounted for by presupposing an Intermediate Space located at a point in time between the News Space and the Reality Space where the progression of narrative time comes to a halt and experiences are rather relived than reported. The salience of the Intermediate Space may be signaled by quotative conditionals reflecting the viewpoints of implicitly quoted sources. These results clarify how tense and temporal deixis steer the linguistic construal of time and viewpoint in news narratives, demonstrating that time and viewpoint are closely linked in the cognitive representation of these narratives. (shrink)

Drawing on research in narrative theory and literary aesthetics, text and discourse processing, phenomenology and the experimental cognitive sciences, this paper outlines an embodied theory of presence in the reading of literary narrative. Contrary to common assumptions, it is argued that there is no straightforward relation between the degree of detail in spatial description on one hand, and the vividness of spatial imagery and presence on the other. It is also argued that presence arises from a first-person, enactive process of (...) sensorimotor simulation/ resonance, rather than from mere visualizing from the perspective of a passive, third-person observer. In sections 1 to 3, an inter-theoretical argument is presented, proposing that presence may be effectively cued by explicit references to object -directed bodily movement. In section 4, an attempt is made at explaining which ways of embedding such references in the narrative may be particularly productive at eliciting presence. (shrink)

Although there has long been a division in studies of consciousness between a focus on neuronal processes or conversely an emphasis on the ruminations of a conscious self, the long-standing split between mechanism and meaning within the brain was mirrored by a split without, between information as a technical term and the meanings that messages are commonly thought to convey. How to heal this breach has posed formidable problems to researchers. Working through the history of cybernetics, one of the historical (...) sites where Claude Shannon’s information theory quickly became received doctrine, we argue that the cybernetic program as it developed through second-order cybernetics and autopoietic theory remains incomplete. In this article, we return to fundamental questions about pattern and noise, context and meaning, to forge connections between consciousness, narrative and media. The thrust of our project is to reintroduce context and narrative as crucial factors in the processes of meaning-making. The project proceeds along two fronts: advancing a theoretical framework within which context plays its properly central role; and demonstrating the importance of context by analyzing two fictions, Stanislaw Lem’s His Master’s Voice and Joseph McElroy’s Plus, in which context has been deformed by being wrenched away from normal human environments, with radical consequences for processes of meaning-making. (shrink)

Research spanning linguistics, psychology, and philosophy suggests that speakers and hearers are finely attuned to perspectives and viewpoints that are not their own, even though perspectival information is not encoded directly in the morphosyntax of languages like English. While some terms seem to require a perspective or a judge for interpretation (e.g., epithets, evaluative adjectives, locational PPs, etc.), perspective may also be determined on the basis of subtle information spanning multiple sentences, especially in vivid styles of narrative reporting. In this (...) paper, I develop an account of the cues that are involved in evaluating and maintaining non-speaker perspectives, and present an economy-based discourse processing model of perspective that embodies two core principles. First, perspectives are subject to a “speaker-default,” but may shift to a non-speaker perspective if sufficient contextual cues are provided. Second, the processor follows the path of least resistance to maintaining perspective, opting to maintain the current perspective across sentences as long as the shifted perspective continues to be coherent. The predictions of the model are tested in a series of offline and online studies, manipulating the form of an attitude report and the tense of the sentence that follows. Implications for processing perspective and viewpoint in speech and narrative forms are explored. (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)