Using poetic metaphors in the Serbian language, we identified systematic variations in the impact of fluid and crystalized intelligence on comprehension of metaphors that varied in rated aptness and familiarity. Overall, comprehension scores were higher for metaphors that were high rather than low in aptness, and high rather than low in familiarity. A measure of crystalized intelligence was a robust predictor of comprehension across the full range of metaphors, but especially for those that were either relatively unfamiliar or more apt. (...) In contrast, individual differences associated with fluid intelligence were clearly found only for metaphors that were low in aptness. Superior verbal knowledge appears to be particularly important when trying to find meaning in novel metaphorical expressions, and also when exploring the rich interpretive potential of apt metaphors. The broad role of crystalized intelligence in metaphor comprehension is consistent with the view that metaphors are largely understood using semantic integration processes continuous with those that operate in understanding literal language. (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)

In this paper we examine the effect of two cognitive variables, Semantic Neighborhood Density and Interpretive Diversity, in first, distinguishing between literary (poetic) and nonliterary metaphor, and second, in determining what makes for a good metaphor. Analyses of items taken from a widely used set ofmetaphor norms indicated that while literary and nonliterary metaphor did not differ in many ways, the poetic items tended to 1) contain concepts that came from a more dense semantic space, 2) contain topic and vehicles (...) that came from equally dense semantic space, 3) suggest a greater number of possible interpretations as the topic and vehicle became more semantically dissimilar, and 4) evoke more emergent interpretations (i.e., less likely to be a characteristic of the topic or vehicle when considered separately). In addition, we found one way that the two variables were related to metaphor goodness: better metaphors were those with vehicles that came from increasingly less dense semantic space. This correlation was only reliable for literary, poetic items, presumably because these items were taken from a richer semantic environment suggesting many more alternative possibilities. (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.