It is commonly presupposed that there are no decisive differences between empathy with fictional characters on one hand and empathy with real persons on the other. I distinguish two types of processes of affect recognition "Perceptual Affect Recognition" and "Affective Affect Recognition". The consensus view about empathy with fictional characters has to be challenged if "empathy" refers to the former or the latter process because of the significant differences between the fictional and the non-fictional scenario: firstly, readers as "empathizers" cannot (...) perceive the fictional target person directly but only the literary text. This is especially problematic for Affective State Recognition. Secondly, fictional characters do not exist, at least not in the sense that they are real people or entities with mental states which leads to relevant differences of the accuracy conditions of Affective Affect Recognition in the fictional and the nonfictional scenario. (shrink)

There is a widespread intuition that readers’ empathy with fictional characters can help to understand certain works of literature. In a nutshell, the argument.

We report a study examining the role of linguistic context in modulating the influences of individual differences in fluid and crystalized intelligence on comprehension of literary metaphors. Three...

This study investigates global properties of three categories of English text: canonical fiction, non-canonical fiction, and non-fictional texts. The central hypothesis of the study is that there are systematic differences with respect to structural design features between canonical and non-canonical fiction, and between fictional and non-fictional texts. To investigate these differences, we compiled a corpus containing texts of the three categories of interest, the Jena Corpus of Expository and Fictional Prose. Two aspects of global structure are investigated, variability and self-similar (...) patterns, which reflect long-range correlations along texts. We use four types of basic observations, the frequency of POS-tags per sentence, sentence length, lexical diversity, and the distribution of topic probabilities in segments of texts. These basic observations are grouped into two more general categories, the lower-level properties and, which are observed at the level of the sentence, and the higher-level properties and, which are observed at the textual level. The observations for each property are transformed into series, which are analyzed in terms of variance and subjected to Multi-Fractal Detrended Fluctuation Analysis, giving rise to three statistics: the degree of fractality () of the fractal spectrum. The statistics thus obtained are compared individually across text categories and jointly fed into a classification model. Our results show that there are in fact differences between the three text categories of interest. In general, lower-level text properties are better discriminators than higher-level text properties. Canonical fictional texts differ from non-canonical ones primarily in terms of variability in lower-level text properties. Fractality seems to be a universal feature of text, slightly more pronounced in non-fictional than in fictional texts. On the basis of our results obtained on the basis of corpus data we point out some avenues for future research leading toward a more comprehensive analysis of textual aesthetics, e.g., using experimental methodologies. (shrink)

Digital reading devices such as Kindle differ from paper books with respect to the kinesthetic and tactile feedback provided to the reader, but the role of these features in reading is rarely studied empirically. This experiment compares reading of a long text on Kindle DX and in print. Fifty participants (24 years old) read a 28 page (approx. one hour reading time) long mystery story on Kindle or in a print pocket book and completed several tests measuring various levels of (...) reading comprehension: engagement, recall, capacities to locate events in the text and reconstructing the plot of the story. Results showed that in most tests subjects performed identically whatever the reading medium. However, on measures related to chronology and temporality, those who had read in the print pocket book, performed better than those who had read on a Kindle. It is concluded that, basically comprehension was similar with both media, but, because kinesthetic feedback is less informative with kindle, readers were not as efficient to locate events in the space of the text and hence in the temporality of the story. We suggest that, to get a correct spatial representation of the text and consequently a coherent temporal organization of the story, readers would be reliant on the sensorimotor cues which are afforded by the manipulation of the book. (shrink)

ABSTRACTIn this article we investigate structural differences between “literary” metaphors created by renowned poets and “nonliterary” ones imagined by non-professional authors from Katz et al.’s 1988 corpus. We provide data from quantitative narrative analyses of the altogether 464 metaphors on over 70 variables, including surface features like metaphor length, phonological features like sonority score, or syntactic-semantic features like sentence similarity. In a first computational study using machine learning tools we show that Katz et al.’s literary metaphors can be successfully discriminated (...) from their nonliterary ones on the basis of response measures, in particular the ratings for familiarity, ease of interpretation, semantic relatedness, and comprehensibility. A second computational study then shows that the classifier can reliably detect and predict between-group differences on the basis of five QNA features generalizing from a... (shrink)

Two main goals of the emerging field of neurocognitive poetics are the use of more natural and ecologically valid stimuli, tasks and contexts and providing methods and models allowing to quantify distinctive features of verbal materials used in such tasks and contexts and their effects on readers responses. A natural key element of poetic language, metaphor, still is understudied insofar as relatively little empirical research looked at literary or poetic metaphors. An exception is Katz et al.’s corpus of 204 literary (...) metaphors by authors such as Shakespeare or Dylan Thomas, for which various rating data are available. We reanalyzed their corpus using a combination of quantitative narrative analysis, latent semantic analysis, and machine learning in order to identify relevant features of the metaphors that influenced the ratings. The combined application of computational tools sheds light on surface and affective-semantic features that co-determine the reception of poetic metaphors and successfully predicted the period of origin, authorship and goodness ratings of the metaphors. The present results can be used for generating quantitative hypotheses or selecting and matching verbal stimuli in empirical studies of literature and neurocognitive poetics. (shrink)

If the words of natural human language possess a universal positivity bias, as assumed by Boucher and Osgood’s (1969) famous Pollyanna hypothesis and computationally confirmed for large text corpora in several languages (Dodds et al., 2015), then children and youth literature (CYL) should also show a Pollyanna effect. Here we tested this prediction applying a vector space model- based sentiment analysis tool called SentiArt (Jacobs, 2019) to two CYL corpora, one in English (372 books) and one in German (500 books). (...) Pitching our analysis at the sentence level, and assessing semantic as well as lexico-grammatical information, bBoth corpora show the Pollyanna effect and thus add further evidence to the universality hypothesis. The results of our multivariate sentiment analyses provide interesting testable predictions for future scientific studies of literature. (shrink)

I consider poetry composition from both the “inside” view of a poet and the “outside” view of a cognitive psychologist. From the perspective of a psychologist, I review behavioral and neural studies of the reception and generation of poetry, with emphasis on metaphor and symbolism. Taking the perspective of a poet, I discuss how the seeds for a poem may arise. Finally, I consider the prospects for future developments in a field of computational neurocognitive poetics.

Summary In the epistemic frame of the biocultural turn and of the neuroaesthetics, we have developed neurohermeneutics as an approach to literature that aims at contributing to the current debate about the linkage between literary, cognitive and neuroscientific studies, focusing on the relationship between mindbrain processes mirrored in the formal features of the text and the strategies activated by the author in a text in order to guide the reader in imagining, emotionally feeling and cognitively getting meanings out of the (...) literary experience. The aim of the neurohermeneutical approach is to grasp and describe phenomenologically the mirroring process between the two extremes of the literary experience, i.e. the writer’s creative process as it is mirrored in the formal features of the literary work and the reader’s imaginative reconfiguration of the text, and what they share in common. The reader revives the mental imaginative processes of the author by creating his/her unrepeatable individual experiences of the text and subjectively redesigning it in an endless loop of features that trigger the imagination and its creative potential both while writing and by reading literature. (shrink)

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the (...) stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting. (shrink)

Neuroaesthetics tends not to do literature. To put it more precisely, neuroaesthetics tends not to do literature very often and when it does, it is inclined not to do it with much conviction, belief and rigour. This is not the case in the very many impressive studies that have been conducted on the neuroaesthetics of sister arts such as painting, music, dance, sculpture and the like. Why is this the case and, of greater importance, how can it best be resolved? (...) In this paper, the pitfalls, parameters and prospects of a neuroaesthetics of prose fiction will be explored. The article itself is part critical review, part methodological proposal and part opinion paper. Its aim is simple: to stimulate, excite and energize thinking in the discipline as to how prose fiction might be fully integrated in the canon of neuroaesthetics. (shrink)

The present study examined whether emotional text content influences cognitive engagement and transportation during listening (Experiment 1) and reading (Experiment 2) of neutral, horror and erotic stories. In Experiment 1, fluctuation in arousal and cognitive engagement were measured by continuous arousal judgments and head movement recordings during story listening. Participants rated experienced transportation and emotional valence after each story. The results showed that emotional texts were more arousing and induced more transportation than neutral stories. There was less head motion overall (...) and a steeper decrease in head motion across time for erotic than neutral or horror stories. In Experiment 2, participants’ head movements and reading times were recorded during reading, and participants rated experienced transportation, arousal, and valence after each text. The results showed that emotional texts were more arousing and induced higher transportation than neutral stories. There was less head motion during reading of erotic than neutral or horror texts. Horror texts were read slower and recalled better than neutral or erotic texts. The present results show that emotional text content impacts cognitive engagement during listening and reading of literary texts and demonstrates the importance of methodological triangulation when examining cognitive engagement. (shrink)

ABSTRACTThe present study examined the effects of emotions on eye movements, head motion, and iPad motion during reading. Thirty-one participants read neutral, emotionally negative texts and emotio...