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Switch to: References
Citations of:
An Evaluation of Story Grammars
Cognitive Science 3 (3):213-229 (1979)
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Visual narratives like comics involve a range of complex cognitive operations in order to be understood. The Parallel Interfacing Narrative‐Semantics (PINS) Model integrates an emerging literature showing that comprehension of wordless image sequences balances two representational levels of semantic and narrative structure. The neurocognitive mechanisms that guide these processes are argued to overlap with other domains, such as language and music. |
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Three experimental tasks—spontaneous telling of a story, reading, and parsing the story—were used to determine whether empirical data reflect the narrative structure of stories and can be predicted by a plot unit analysis of the stories (Lehnert, 1981). It was found that spontaneous pause durations at sentence breaks were highly correlated with the importance of these breaks as predicted theoretically. Only low correlations were obtained, however, when reading pause durations were correlated with the model. As for parsing values, the value (...) |
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Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to a (...) |
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Drawn sequences of images, like those in comics and picture stories, are a pervasive and fundamental way that humans have communicated for millennia. Yet, the study of visual narratives has only recently gained traction in Cognitive Science. Here we explore what has held back the study of the cognition of visual narratives, and why researchers should join in scholarship of this ubiquitous aspect of expression. |
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A number of criticisms of a recent paper byare made. (1) In attempting to assess the observational adequacy of story grammars, they state that a context‐free grammar cannot handle discontinuous elements; however, they do not show that such elements occur in the domain to which the grammars apply. Further, they do not present adequate evidence for their claim that there are acceptable stories not accounted for by existing grammars and that the grammars will accept nonstories such as procedures. (2) They (...) |
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Two experiments were carried out to investigate the role of referential continuity in understanding discourse. In experiment 1, a group of university students listened to stories and descriptive passages presented in three different versions: the original passages, versions in which the sentences occured in a random order, and randomised versions in which referential continuity had been restored primarily by replacing pronouns and other terms with fuller and more appropriate noun phrases. The original stories were remembered better, and rated as more (...) |
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Type-scenes have been studied and analysed for over seventy years. This paper presents a more detailed analysis of one type-scene, the 'recognition scene', than has previously been attempted, with the aim of moving towards a better-structured understanding of the 'syntax' of type-scenes generally. The structure of the recognition scene is dissected into motifs and 'moves', all of which are tabulated; this is the core of the analysis. The ensuing points of clarification elaborate on the definitions and assumptions built into the (...) |
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In order to summarize a story, it is necessary to access a high level analysis of the story that highlights its central concepts. A technique of memory representation based on plot units appears to provide a rich foundation for such an analysis. Plot units are conceptual structures that overlap with each other when a narrative is cohesive. When overlapping intersections between plot units are interpreted as arcs in a graph of plot units, the resulting graph encodes the plot of the (...) |
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