Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

A primary dimension of our engagement with fictional works of art – paradigmatically literary, dramatic, and cinematic narratives – is figuring out what is true in such representations, what the facts are in the fictional world. These facts include not only those that ground any genuine understanding of a story – say, that it was his own father whom Oedipus killed – but also those that may be missed in even a largely competent reading, say, that Emma Bovary's desires and (...) dissatisfactions are fed by reading romance novels. (shrink)

This paper presents an overview of the activation of background knowledge during text comprehension. We first review the cognitive processes involved in the activation of inferences during text comprehension, stressing the interaction between text and reader in the construction of situation models. Second, we review evidence for embodied theories of cognition and discuss how this new framework can inform our understanding of the nature and role of background knowledge. We then review the neuropsychological data on the activation of background knowledge (...) during text comprehension. Finally, the paper presents existing and future challenges in researching the role of background knowledge both at a conceptual and a methodological level. (shrink)

Many philosophical accounts of the emotions conceive of them as susceptible to assessments of rationality, fittingness, or some other notion of aptness. Analogous assumptions apply in cases of emotions directed at what are taken to be only fictional or only imagined. My question is whether the criteria governing the aptness of emotions we have toward what we take to be real things apply invariantly to those emotions we have toward what we take to be only fictional or imagined. I argue (...) that what counts as a reason justifying an emotion can differ across real, fictional, and imagined domains. (shrink)

Stories, in pictorial format, orally narrated, and later on as narrative texts, have played a key role in human evolution and to this day continue to surreptitiously teach us things and skills. In recent decades, psychologists and cognitive scientists have begun documenting the role of stories, and particularly fiction, in refining our sociocognitive skills. In this essay, I focus specifically on how stories, particularly written fiction, hone our emotion recognition skills. I present a brief overview of existing theorizing and research (...) findings, and propose the less-is-more hypothesis, according to which emotion recognition skills are sharpened by stories that do not tell us, but rather show us the emotional life of fictional characters. (shrink)

The vast majority of studies on affective processes in reading focus on single words. The most robust finding is a processing advantage for positively valenced words, which has been replicated in the rare studies investigating effects of affective features of words during sentence or story comprehension. Here we were interested in how the different valences of words in a sentence influence its processing and supralexical affective evaluation. Using a sentence verification task we investigated how comprehension of simple declarative sentences containing (...) a noun and an adjective depends on the valences of both words. The results are in line with the assumed general processing advantage for positive words. We also observed a clear interaction effect, as can be expected from the affective priming literature: sentences with emotionally congruent words (e.g., The grandpa is clever) were verified faster than sentences containing emotionally incongruent words (e.g., The grandpa is lonely). The priming effect was most prominent for sentences with positive words suggesting that both, early processing as well as later meaning integration and situation model construction, is modulated by affective processing. In a second rating task we investigated how the emotion potential of supralexical units depends on word valence. The simplest hypothesis predicts that the supralexical affective structure is a linear combination of the valences of the nouns and adjectives (Bestgen, 1994 ). Overall, our results do not support this: The observed clear interaction effect on ratings indicate that especially negative adjectives dominated supralexical evaluation, i.e., a sort of negativity bias in sentence evaluation. Future models of sentence processing thus should take interactive affective effects into account. (shrink)

This paper argues that emotional inferences about characters in a text are not as specific as previously assumed.

We examined the differences between estimating the emotions of protagonists and evaluating those of readers in narrative comprehension. Half of the participants read stories and rated the emotional states of the protagonists, while the other half of the participants rated their own emotional states while reading the stories. The results showed that reading comprehension was facilitated when highly extraverted participants read stories about, and rated the emotional experiences of, extraverted protagonists, with personalities similar to their own. However, the same facilitative (...) effect was not observed for less extraverted participants, nor was it observed for either type of participants under the condition in which participants rated their own emotional experiences. Thus, at least for highly extraverted participants, readers both facilitated the construction of a situation model and correctly estimated the emotional states of protagonists who were similar to themselves, perhaps due to empathy. (shrink)

When researchers think about the interaction between language and emotion, they typically focus on descriptive emotion words. This review demonstrates that emotion can interact with language at many levels of structure, from the sound patterns of a language to its lexicon and grammar, and beyond to how it appears in conversation and discourse. Findings are considered from diverse subfields across the language sciences, including cognitive linguistics, psycholinguistics, linguistic anthropology, and conversation analysis. Taken together, it is clear that emotional expression is (...) finely tuned to language-specific structures. Future emotion research can better exploit cross-linguistic variation to unravel possible universal principles operating between language and emotion. (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)

Mindreading, simulation, empathy and central imagining are often used interchangeably in current analytic philosophy, and typically defined as imagining what the other wants and believes – to run these states “off-line.” By imagining the other’s beliefs and desires, one will come to understand and predict his emotional and behavioural reactions. Many have suggested that films may trigger engagement in the characters’ perspectives, and one finds similar use of these terms in film theory. Imagining the characters’ states – with emphasis on (...) mental states – has for example been labelled as central imagining (Choi 2005; Smith 1995), imagining from the inside (Smith 1997), and empathetic reenactment (Currie 1995). In a similar vein, understanding the meaning of a narrative event for a character is understood as empathy (Tan 1996). These accounts all point to ways in which the spectator understands the character and the situation the character is in. Nevertheless, one also finds a different use of the term empathy in film theory, namely as a matching feeling with the character. The emphasis here is not on understanding the character and the narrative situation, but on the emotional output of the process. Often automatic, hardwired affective matching mechanisms are emphasized. This matching feeling with the character has also been discussed as empathy (Grodal 1997; Plantinga 1999; Smith 1995). While all these authors discuss what makes a spectator experience aspects of a character’s state, they point to different kinds of character engagement, and discuss it using varying terms. There also seems to be disagreement as to how film may cue the spectator to engage in these different ways. Here I offer an integrative account of empathy, where all these processes are labelled as empathic. The differences and similarities between them are explored. I argue that, broadly speaking, there are two different kinds of film, each of which elicits its own kind of empathy. Nevertheless, the common core to these kinds of engagement in a character justifies us in calling them empathy. (shrink)

ABSTRACTThe recognition of emotional facial expressions is often subject to contextual influence, particularly when the face and the context convey similar emotions. We investigated whether spontaneous, incidental affective theory of mind inferences made while reading vignettes describing social situations would produce context effects on the identification of same-valenced emotions as well as differently-valenced emotions conveyed by subsequently presented faces. Crucially, we found an effect of context on reaction times in both experiments while, in line with previous work, we found evidence (...) for a context effect on accuracy only in Experiment 1. This demonstrates that affective theory of mind inferences made at the pragmatic level of a text can automatically, contextually influence the perceptual processing of emotional facial expressions in a separate task even when those emotions are of a distinctive valence. Thus, our novel findings suggest that language acts as a contex... (shrink)

Emotion scientists often take an ambivalent stance concerning the role of language in a science of emotion. However, it is important for emotion researchers to contemplate some of the consequences of current practices for their theory building. There is a danger of an overreliance on the English language as a transparent window into emotion categories. More consideration has to be given to cross-linguistic comparison in the future so that models of language acquisition and of the language–cognition interface fit better the (...) extant variation found in today’s peoples. (shrink)

Two experiments investigated the mental representation of spatial and nonspatial two-dimensional problems. The experiments were designed to contrast opposite predictions of the model theory of reasoning and the formal rules of inference theories. Half of the problems required more inferential steps but only one model, whereas the other half required fewer inferential steps but two models. According to the inference rules, theory problems that require more inferential steps should be harder, whereas the model-based theory predicts that problems that require two (...) models should be harder. In Experiments 1a and 1b we measured the problem solving time and the percentage of errors. In Experiments 2a and 2b the problems were presented segmented in two different displays. We measured the comprehension time for each display, the question answering times, and the percentage of errors. The results of all experiments supported the model theory predictions in both spatial and nonspatial domains. (shrink)

In this paper I argue that there is good reason to believe that we can be influenced by fictions in ways that matter morally, and some of the time we will be unaware that we have been so influenced. These arguments fall short of proving a clear causal link between fictions and specific changes in the audience, but they do reveal rather interesting and complex features of the moral psychology of fiction. In particular, they reveal that some Platonic worries about (...) the dangers of art cannot be dismissed lightly. (shrink)

Many studies showed that comprehenders monitor changes in protagonists’ emotions and actions. This article reports two experiments that explored how focusing comprehenders’ attention on a particular property of the protagonist dimension affects the accessibility of information about target objects mentioned in the sentence. Furthermore, the present research examined whether participants’ attitudes toward the issues described in the sentence can modulate comprehension processes. To this end, we asked participants to read sentences about environmental issues that focused comprehenders’ attention on different mental (...) and physical attributes of the same entities and then self-report their own thoughts on the topic of environment by responding to the items assessing their environmental awareness. Importantly, we manipulated the task requirements across two experiments by administering a self-report task, which required the participants to rate the seriousness and the frequency of the problem mentioned in a sentence; and administering a sentence-picture verification paradigm, which required the participants to merely indicate if the object depicted in the picture was mentioned in the preceding sentence. The results of these experiments suggest that the focus of a sentence on the environmental problem enhances the accessibility of information about environmental issues ; that the comprehender’s level of environmental awareness influences one’s attention during sentence processing; and that comprehender characteristics significantly modulate comprehension processes only when the measures tap into explicit processes. (shrink)