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  1. The landscape of time in literary reception: Character experience and narrative action.Gerald C. Cupchik & Janos Laszlo - 1994 - Cognition and Emotion 8 (4):297-312.
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  • Story grammars versus story points.Robert Wilensky - 1983 - Behavioral and Brain Sciences 6 (4):579.
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  • Point: Counterpoint.Robert Wilensky - 1983 - Behavioral and Brain Sciences 6 (4):613.
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  • The holes in points.David L. Waltz & Marcy H. Dorfman - 1983 - Behavioral and Brain Sciences 6 (4):612.
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  • A pointless approach to stories.Teun A. van Dijk - 1983 - Behavioral and Brain Sciences 6 (4):598.
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  • What' the point?Nancy L. Stein - 1983 - Behavioral and Brain Sciences 6 (4):611.
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  • Twenty-four centuries of literary studies recapitulated in ten years of cognitive science: And Now What?Dan Sperber - 1983 - Behavioral and Brain Sciences 6 (4):610.
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  • The story in mind and in matter.Steven L. Small - 1983 - Behavioral and Brain Sciences 6 (4):609.
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  • A remark on stories, texts, and sentences.Petr Sgall - 1983 - Behavioral and Brain Sciences 6 (4):608.
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  • What's the point in points without a grammar?Csaba Piéh, János László, István Siklaki & Tamás Terestyéni - 1983 - Behavioral and Brain Sciences 6 (4):607.
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  • Whose category error?Donald Perlis - 1983 - Behavioral and Brain Sciences 6 (4):606.
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  • Do points define stories or texts in general?Domenico Parisi - 1983 - Behavioral and Brain Sciences 6 (4):605.
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  • Explaining Emotions.Paul O'Rorke & Andrew Ortony - 1994 - Cognitive Science 18 (2):283-323.
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  • Computational models of the emotions: from models of the emotions of the individual to modelling the emerging irrational behaviour of crowds. [REVIEW]Ephraim Nissan - 2009 - AI and Society 24 (4):403-414.
    Computational models of emotions have been thriving and increasingly popular since the 1990s. Such models used to be concerned with the emotions of individual agents when they interact with other agents. Out of the array of models for the emotions, we are going to devote special attention to the approach in Adamatzky’s Dynamics of Crowd-Minds. The reason it stands out, is that it considers the crowd, rather than the individual agent. It fits in computational intelligence. It works by mathematical simulation (...)
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  • Beyond the schema given: Affective comprehension of literary narratives.David S. Miall - 1989 - Cognition and Emotion 3 (1):55-78.
    The narratives studied by schema-based models or story grammars are generally simpler than those found in literary texts, such as short stones or novels. Literary narratives are indeterminate, exhibiting conflicts between schemata and frequent ambiguities in the status of narrative elements. An account of the process of comprehending such complex narratives is beyond the reach of purely cognitive models. It is argued that during comprehension response is controlled by affect, which directs the creation of schemata more adequate to the text. (...)
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  • Wilensky's recipe for soap-opera scripts, or Marcel Proust is a yenta.John C. Marshall - 1983 - Behavioral and Brain Sciences 6 (4):604.
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  • Psychological considerations in story analysis.Maryanne Martin - 1983 - Behavioral and Brain Sciences 6 (4):605.
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  • What a story is.Jean M. Mandler - 1983 - Behavioral and Brain Sciences 6 (4):603.
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  • The role of affect in narrative structure.Wendy G. Lehnert & Elaine W. Vine - 1987 - Cognition and Emotion 1 (3):299-322.
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  • Moving toward a point of some return.Wendy G. Lehnert - 1983 - Behavioral and Brain Sciences 6 (4):602.
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  • The semantic–syntactic distinction in story grammars.Janice M. Keenan - 1983 - Behavioral and Brain Sciences 6 (4):601.
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  • Drawing inferences about others' cognitions and affective reactions: A test of two models for representing affect.Rachel Karniol & Rachel Ben-Moshe' - 1991 - Cognition and Emotion 5 (4):241-253.
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  • How to develop a theory of story points.Arthur C. Graesser - 1983 - Behavioral and Brain Sciences 6 (4):600.
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  • The point of thematic abstraction units.Michael G. Dyer - 1983 - Behavioral and Brain Sciences 6 (4):599.
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  • A society of ideas on cognition.Michael G. Dyer - 1991 - Artificial Intelligence 48 (3):321-334.
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  • Emotions and their computations: Three computer models.Michael G. Dyer - 1987 - Cognition and Emotion 1 (3):323-347.
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  • Event structure, interest, importance, and coherence: Where does point theory fit?Thomas H. Carr - 1983 - Behavioral and Brain Sciences 6 (4):597.
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  • What makes stories interesting.Bruce K. Britton - 1983 - Behavioral and Brain Sciences 6 (4):596.
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  • Form, content, and affect in the theory of stories.William F. Brewer - 1983 - Behavioral and Brain Sciences 6 (4):595.
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  • Are story representations good for anything?John B. Black - 1983 - Behavioral and Brain Sciences 6 (4):594.
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  • Story grammar as knowledge.Carl Bereiter - 1983 - Behavioral and Brain Sciences 6 (4):593.
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  • Do story grammars and story points differ?James F. Allen - 1983 - Behavioral and Brain Sciences 6 (4):592.
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  • Commentary Points.Robert P. Abelson - 1983 - Behavioral and Brain Sciences 6 (4):591.
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  • Prolegomena to a theory of communication and affect.Aaron Sloman - 1992 - In Andrew Ortony, Jon Slack & Oliviero Stock (eds.), Communication from an Artificial Intelligence Perspective: Theoretical and Applied Issues. Springer.
    As a step towards comprehensive computer models of communication, and effective human machine dialogue, some of the relationships between communication and affect are explored. An outline theory is presented of the architecture that makes various kinds of affective states possible, or even inevitable, in intelligent agents, along with some of the implications of this theory for various communicative processes. The model implies that human beings typically have many different, hierarchically organized, dispositions capable of interacting with new information to produce affective (...)
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