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 (...) story. Structural features of the graph then reveal which concepts are central to the story, and which concepts are peripheral. Plot unit analysis is currently being investigated as a processing strategy for narrative summarization by both computer simulation and psychological experiments. (shrink)

Black and Wilensky (1979) have made serious methodological errors in analyzing story grammars, and in the process they have committed additional errors in applying formal language theory. Our arguments involve clarifying certain aspects of knowledge representation crucial to a proper treatment of story understanding.Particular criticisms focus on the following shortcomings of their presentation: 1) an erroneous statement from formal language theory, 2) misapplication of formal language theory to story grammars, 3) unsubstantiated and doubtful analogies with English grammar, 4) various non (...) sequiturs concerning the generation of non‐stories, 5) a false claim based on the artificial distinction between syntax and semantics, and 6) misinterpretation of the role of story grammars in story understanding.We conclude by suggesting appropriate criteria for the evaluation of story grammars. (shrink)

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.

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 (...) comprehensible, than the random versions, but the restoration of referential continuity ameliorated the effects of randomisation. The descriptive passages had little referential continuity from one sentence to the next, and as expected the effects of randomisation on comprehensibility and memory were negligible. In experiment 2, a group of skilled comprehenders and a group of less skilled comprehenders were selected from a population of 7–8-year-old children. The difference between the groups was known to be largely their inferential ability in reading texts. Both groups read a series of short stories presented in the same three versions as used in the previous experiment. As predicted, the ameliorating effects on memory of restoring referential continuity in a randomised story were confined to the skilled group. The results are discussed in relation to the theories of story grammar, text microstructure, and mental models of discourse. (shrink)

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 (...) state that it has been proven that under natural conditions children cannot learn transformational grammars, which is a misrepresentation of the learnability proofs which have been offered. (3) Most important, they take an unduly narrow approach to story understanding by claiming that people only understand story content and do not have knowledge of story structure which is useful in comprehension or memory. Counterevidence from the literature is cited which indicates that such knowledge is both useful and used, and a number of methods for assessing the psychological adequacy of structural models are discussed. (shrink)

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 (...) canonical narrative arc, followed by a discussion of complex structures that extend beyond the canonical schema. This demands that the canonical arc be reconsidered as a generative schema whereby any narrative category can be expanded into a node in a tree structure. Narrative “pacing” is interpreted as a reflection of various patterns of this embedding: conjunction, left-branching trees, center-embedded constituencies, and others. Following this, diagnostic methods are proposed for testing narrative categories and constituency. Finally, we outline the applicability of this theory beyond sequential images, such as to film and verbal discourse, and compare this theory with previous approaches to narrative and discourse. (shrink)

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.

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 (...) analysis. Following this is an assessment of the 'syntax' and quantifiable elements of the recognition scene. The discussion closes with a general assessment of the more literary face of recognition scenes, discussing them in the context of the plan of the second half of the Odyssey. (shrink)

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 (...) of the correlation coefficients depended on whether stories had sufficient superficial linguistic cues to help the subjects in parsing. It was concluded that spontaneous pausing not only reflects the narrative structure of stories, but can be used as a guide to constructing theories of narrative structure as well as for deciding between competing theories. (shrink)