There is a widespread intuition that readers’ empathy with fictional characters can help to understand certain works of literature. In a nutshell, the argument.

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)

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

Summary In the epistemic frame of the biocultural turn and of the neuroaesthetics, we have developed neurohermeneutics as an approach to literature that aims at contributing to the current debate about the linkage between literary, cognitive and neuroscientific studies, focusing on the relationship between mindbrain processes mirrored in the formal features of the text and the strategies activated by the author in a text in order to guide the reader in imagining, emotionally feeling and cognitively getting meanings out of the (...) literary experience. The aim of the neurohermeneutical approach is to grasp and describe phenomenologically the mirroring process between the two extremes of the literary experience, i.e. the writer’s creative process as it is mirrored in the formal features of the literary work and the reader’s imaginative reconfiguration of the text, and what they share in common. The reader revives the mental imaginative processes of the author by creating his/her unrepeatable individual experiences of the text and subjectively redesigning it in an endless loop of features that trigger the imagination and its creative potential both while writing and by reading literature. (shrink)