What do people consciously experience when they read? There has been almost no rigorous research on this question, and opinions diverge radically among both philosophers and psychologists. We describe three studies of the phenomenology of reading and its relationship to memory of textual detail and general cognitive abilities. We find three main results. First, there is substantial variability in reports about reading experience, both within and between participants. Second, reported reading experience varies with passage type: passages with dialogue prompted increased (...) reports of inner speech, while passages with vivid visual detail prompted increased reports of visual imagery. Third, reports of visual imagery experiences, inner speech experiences, and experiences of conscious visual perception of the words on the page were at best weakly related to general cognitive abilities and memory of visual and auditory details. (shrink)

Comparisons between audiobook listening and print reading often boil down to the fact that audiobooks impose limitations on the recipient’s continuous in-depth reflection. As a result, audiobook listening is considered a shallow alternative to reading. This chapter critically revisits the following three intuitions commonly associated with such comparisons: 1) Audiobooks elicit more mental imagery than print. 2) Audiobooks invite more inattentive processing than print. 3) Audiobook listening is more contingent on the environment than print reading. Instead of postulating the superiority (...) of print over audio, the chapter argues that the three intuitions are largely based on a misconception of print reading, its experiential characteristics, and its function. (shrink)

ABSTRACTIn this paper, I consider Adorno's claim that art is at, or is coming to, an ‘end’. I consider Adorno's account in relation to the work of Arthur Danto and G. W. F. Hegel. I employ Danto's account, together with two distinct interpretive glosses of Hegel's account, as heuristic devices in order to clarify both Adorno's own arguments, and the context within which they are being advanced. I argue that while Danto and Hegel see art as coming to an end (...) autonomously, owing to art's successful realization of its governing principle, Adorno by contrast sees art as coming to an end heteronomously. Art's narrative is forcibly broken off, rather than completed. Adorno's account, indebted to Hegel, of art's commitment both to autonomy and the realization of ‘spiritual needs’ is explored in order to clarify how, on Adorno's view, this has happened to art; and why, precisely, he believes art is coming to an end. (shrink)

It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, psycholinguistic theory, (...) and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exploring "The Vital Depths of Experience":A Reader's Response to HenningJim Garrisonbethany henning's dewey and the aesthetic unconscious is a much-needed and marvelous book. It explores the pragmatic unconscious as it reveals itself in the qualitative unity of artistic expression integrated with aesthetic appreciation and response. By illuminating the role of often unconscious impulses, feelings, desires, memories, imaginaries, habits, meanings, and more, that goes into creating or appreciating a work (...) of art, she exposes the role of the unconscious in our daily lives. In this regard, she may wish to look at Hans Joas's theory of creative action. Relying largely on Dewey, Joas argues that we should regard "creativity as an analytical dimension of all human action" (Joas 116). We transform the world in even our most mundane actions and in doing so, we may draw on the depths of our unconscious.Henning writes with sincerity, clarity, and force. Recognizing that ultimately she is striving to articulate something that is often ineffable, she is not afraid of vagueness, the indeterminate, or the incomplete, and is content to live with mysteries. Henning shows unusual vulnerability in exposing some of her own aesthetic unconscious and the ways culture has inscribed itself upon her, when she responds to art works. She does so without assuming she has plumbed the vital depths of herself much less the artists and art works she explores.I found Henning's responses to be an invitation to explore my own aesthetic unconscious, and I believe others will as well. Her book is subtitled The Vital Depths of Experience. I will strive to demonstrate that depth by summoning the courage to share some of my own aesthetic responses to her textual creation. My goal is to express some of the power in a text that dares to explore the pragmatic unconscious.In writing book reviews, I often rely on Louise Rosenblatt's reader response theory. On this occasion, Rosenblatt is especially apropos since her [End Page 90] work exemplifies the kind of transactionalism that integrates the artistic artifact with those who do the work of art in experiencing it. This emphasis becomes especially obvious in Henning's chapter 5, where she defends Dewey's qualitative "unity thesis" against such critics as Richard Shusterman, John Lysaker, and Noël Carroll. My response concentrates on this remarkable chapter.Carroll argues that works like John Cage's 4'33" and the paintings of Mark Rothko lack qualitative unity that unfolds temporally because they fail to provide closure. Henning replies that "Carroll has forgotten that the art product does not need to have any particular duration for the art work to unfold temporally" (128). As Dewey states it, "[t]he work of art is complete only as it works in the experience of others than the one who created it" (LW 10:111). Those experiencing an artistic product collaborate with the initial creator to complete the meaning. Henning goes on to say that "the encounter between perceiver and product culminate in a transaction: a dynamic exchange between the organism and environment" (128). The idea is correct, but for Dewey and Bentley, however, "exchange between" suggests interaction not transaction; a mutual or reciprocal transaction or an integration would be better descriptions.Although specifically concerned with literary works of art and the experience of reading, Rosenblatt helps illuminate any aesthetic event. In her "The Poem as Event," Rosenblatt remarks:A poem, then, must be thought of as an event in time. It is not an object or an ideal entity. It is an occurrence, a coming-together, a compenetration, of a reader and a text. The reader brings to the text his past experience; the encounter gives rise to a new experience, a poem.(126)Compenetration is a nice synonym for transaction. Rosenblatt's book on transactional reading is titled The Reader, the Text, the Poem. There, she defines "poem" as "the whole category of aesthetic transactions between readers and texts without implying the greater or less 'poeticity' of any specific genre" (12). It is an event of conjoint meaning-making where meaning is felt and acted upon as well as cognized. Dewey himself states: "A new poem is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Aesthetics and Aesthetic Teaching:Toward a Deweyan PerspectiveDavid A. Granger (bio)The educational writings of John Dewey continue to be invoked by scholars in education on a regular basis and in relation to a wide variety of issues, from social learning theory and situated cognition to constructivism and whole-language literacy instruction. More recently, this scholarship has begun to expand to include books and essays that look to tie Dewey's aesthetics (...) to his work in education in a substantive way. Notably, this is not something that Dewey attempted himself, since his major work in aesthetics, Art as Experience, was not published until he was seventy-five, and he seemingly had neither the time nor means at that point in his life to develop this link to his satisfaction. In addition, many educators are only familiar with Dewey's more explicitly educational writings, most of which came earlier in his career and tend to speak more of the merits of science than of art. As a result, scholars in education have only recently begun to examine the possible significance of Dewey's aesthetics for the practices of teaching and learning.1It is still the case, however, that writers on Dewey have traditionally focused their critical energies on his expansive claims for "the method of science" as a vehicle for solving numerous educational and social problems, and as the only authentic means of learning about our everyday world. Such critical attention is not, I believe, without warrant; though Dewey's use of "science" was a very loose and liberal one, he was a staunch critic of the positivistic model of science often presumed by these writers. Nonetheless, this critical focus has unfortunately led many writers to dismiss or marginalize the Dewey who, for instance, proclaims in "Art in Education—and Education in Art" that theModern preoccupation with science and with industry based on science has been disastrous; our education has followed the model that [End Page 45] they have set. It has been concerned with intellectual analysis and formularized information.... It is disastrous because it has fixed attention upon competition for control and possession of a fixed environment rather than upon what art can do to create an environment.... It is disastrous because civilization built upon these principles cannot supply the demand of the soul for joy, or freshness of experience; only attention through art to the vivid but transient values of things can effect such refreshment.2As Dewey sees it, science and other forms of knowledge are properly "handmaidens" to art, intellectual tools for enhancing the overall quality and value of human life and activity.3 This means that they are largely subordinate to the direct qualitative meaning of experience. They are, Dewey says, transformed in aesthetic experience in that they are "merged with non-intellectual elements to form an experience worth while as an experience."4 Art objects may well be the most potent and ready source of such enhanced, aesthetic experience, being intentionally created to refine and intensify in certain ways the experience of the perceiver. But they are not, to Dewey's way of thinking, the sole or even principal medium of the aesthetic. Art, he tells us, is best seen more liberally as "a quality that permeates an experience," whereby, in any number of life contexts, the meanings of objects and events become "the matter of a clarified, coherent, and intensified or 'impassioned' experience" (AE, 329, 295). If all of this can be taken to mean that art or the aesthetic, and not science, is paradigmatic of optimal human experience, then current efforts to integrate Dewey's aesthetics with his thinking about education are an important endeavor and one that should bear considerable fruit. Then, too, much of the popular literature in art and aesthetic education, which situates art and the aesthetic squarely within the cognitive domain of experience, is significantly at odds with Dewey's radically holistic and vigorously anti-elitist aesthetics.5Accordingly, this article will explore the idea of aesthetic education—conceived in its broadest sense—using a mainly Deweyan lens. Moreover, it will do so by examining everyday classroom practices as they are informed by the general... (shrink)

Viewing difficulty as an opportunity for learning runs counter to the common view of difficulty as a source of frustration and confusion. The aim of this article is to focus on the idea of difficulty as a stepping-off point for learning. The literature on difficulty in reading texts, and its impact on thinking and the interpretive process, serve as a foundation for the use of poetry in healthcare ethics education. Because of its complexity and strangeness compared to the usual scientific (...) and clinical texts health science students encounter, poetry is an excellent means to achieve the aim of thinking through difficulties in ethics. Specific examples of teaching and learning strategies for turning difficulty into opportunities for learning are presented, including the difficulty paper and the triple mark-up method. Both methods require students to examine their process of working through difficulties, reflect on how they make sense of difficult texts and then share their process and interpretations in a collaborative manner with peers. The importance of framing difficulties as a public, visible, collaborative process rather than a personal process is emphasized. Working together to hypothesize reasons for difficulty and map out plans to come to terms with difficulty are equally relevant for reading text as they are for reading complex ethical situations. Finally, I argue that transference of this kind of personal and collaborative learning about difficulties benefits interprofessional clinical practice, particularly when dealing with ethical issues. (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

To complement theoretically driven work on argument, we present a datadriven description of published, written argument. We analyze political or philosophical treatises, articles in scholarly journals, and U.S. Supreme Court decisions. The description has emerged out of an inductive and a posteriori process based in grounded theory. The result is a suite of thirty-eight features that begins with conditions antecedent to writing and continues through to the consequences for the reader. We relate observational data to theories and practices from the (...) fields of rhetoric and applied linguistics, including pragmatics, to explain how the features work together as social and communicative acts in which the writer produces a text in order to affect or change the beliefs or actions of the reader. For our purposes, the whole text is the argument and is not reduced to its propositional content; it is a unified communicative act. In our description of argument, the writer, reader, and text are central categories. We describe these categories and their features using examples from a variety of types of written argument. (shrink)

This article discusses the implementation of the reader-response theory and approach in the context of a literature course taught to students enrolled at the Department of English Language and Literature, who are preparing to be future teachers of English language. This article aims to examine the benefits and values of the reader-response theory applied in the described context, as well as potential drawbacks. The basic postulates of the reader-response theory and reader-response approach in class emphasize the crucial role of the (...) reader on the literary and aesthetic experience when reading a literary text. The reader’s way of understanding and perceptions of a literary text, as well as the experience of the reader, influence the interaction between the reader and a text. This interaction contributes to the development of interpretation of the text and reconstruction of the ideas expressed in the text. The article examines the possible ways of implementing the reader-response theory in a literature class, including written assignments, personal responses to a literary text and in-class discussions. The research focuses on qualitative data collection and on analyzing students’ responses to these activities. Furthermore, the research aims to provide a clearer picture of students’ attitudes, observations and personal reactions when interacting with a literary text. One of the aims of the article is to provide recommendations and suggestions regarding reader-response theory application in teaching literature courses at tertiary level, in addition to designing course curricula and selecting appropriate in-class activities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rebirth of Cool:Toward a Science SublimeE. David Wong (bio)We love and hate "the cool." As educators, few things are more coveted than being recognized as teaching the "coolest" class in the school. We look forward to the rare moment when students gasp in awe or scream in amazement. However, in the quiet that returns after the last student rushes out the classroom door, we may feel an uneasy (...) ambivalence. Perhaps we admonish ourselves that serious science is substantial, enduring, and intellectual. We wonder whether our "cool" class was merely superficial, fleeting, and mindless.In this article I examine the cool—this idea we love and hate—and assert its importance in science education. I acknowledge that some experiences can be engaging but are superficial and unimportant—this is the "merely cool." By contrast, some experiences are deeply moving because we feel a growing capacity to perceive meaning and value in the world—this is the "sublimely cool." I draw from philosophy, literature, psychology, and aesthetics to build connections between cool and sublime experiences. By highlighting the surprisingly substantial connection between the cool and sublime, I hope to bring greater depth to the meaning of "cool," this imprecise, but honest, term. I also take care to define sublimely cool experiences in science as having a direct relationship with subject-matter understanding. It is true that the full meaning of aesthetic experiences extends beyond the grasp of words and conceptualization; however, it is equally true that knowledge and reason are central to all worthwhile experiences. The expansion of meaning and perception, not just intense sensation or emotion, is the heart of the sublimely cool experience. Nobel laureate physicist Richard Feynman provides a personal example of how his knowledge of science enhances his sublimely cool experience of Nature: "Poets say science takes away from the beauty of the stars—mere globs of gas atoms. Nothing is 'mere.' I too can see the stars on a desert night, and feel them. But do I see less or more? The [End Page 67] vastness of the heavens stretches my imagination—stuck on this carousel my little eye can catch one-million-year-old light."1Cool as a Sign of Compelling Experience"Cool" is an intriguing expression for it is at once both crude and incisive. On the one hand, "cool" is a colloquial term used by people of all ages and backgrounds in many contexts to describe many things. So wide and informal is its use that "cool" may seem trite and banal. "Cool" is rarely chosen carefully when used: indeed, it is more often an unintentional, reflexive utterance.Thus, the more one thinks before speaking, the less likely "cool" will be used. Nonetheless, because it is an impulsive expression, "cool" may be all the more honest. Dewey made a similar point in his observation of the word "beauty": "Beauty... is properly an emotional term, though one denoting a characteristic emotion. In the presence of a landscape, a poem or a picture that lays hold of us with immediate poignancy, we are moved to murmur or to exclaim 'How beautiful.' The ejaculation is a just tribute to the capacity of the object to arouse admiration that approaches worship."2 With "just tribute" Dewey emphasizes the honesty of the term. By "admiration that approaches worship," Dewey reminds us that the spontaneous uttering of "beautiful" is a sign that a powerful experience has been had. I will make a similar argument that the term "cool"—although common and ordinary—can signal the having of a compelling experience. As a compelling experience, the cool becomes an important resource for teachers.Dewey goes on to describe how the meaning of "beauty" has, unfortunately, lost its value to aesthetic theoreticians: "Beauty is at the furthest remove from an analytic term, and hence from a conception that can figure in theory as a means of explanation or classification. Unfortunately, it has been hardened into a peculiar object; emotional rapture has been subjected to what philosophy calls hypostatization, and the concept of beauty as an essence of intuition has resulted. For purposes of theory, it then becomes an obstructive term."3Because of the way they are... (shrink)

Rather than using literary texts to evidence an analytic argument, within this piece we read Julia McNair Wright's (US, 1840?1902), Sidonie-Gabrielle Colette's (France, 1873?1954), and Willa Cather's (US, 1873?1947) texts through theoretical lenses that expose their educational meaning and value and that create conversation among them concerning girls? and women's educations. While we do not claim that one can generalize these women's works and lessons to every life, we contend that these women and the literary products they created offer girls (...) and women powerful lessons about resistance, subversion, and nurturing one's intellect, lessons that in some ways transcend class and race in particular. First, we define and explain Bruner's concept of the more using Rosenblatt, Gallagher, and Gardner's theories and findings to illuminate his concept. Next, we identify and examine three themes that emerge across these authors? texts?subverting through the everyday, becoming one's own steward, and moving from survival to self-actualization. Establishing these themes first in Wright's texts, we then use them to frame Colette's and Cather's fiction and support these themes by focusing on one lesson that emerges from each author's work(s). Finally, we ask what one might learn about educating girls and women from these texts and others whose educative meaning and value remain hidden. (shrink)

Ron Eyerman is one of the authors of the cultural theory trauma with an introduction by Jeffrey Alexander. This text may be seen as a case-study, that underlines and illuminates some of the main features of their theory. Using the examples of three significant social theory texts, Horkheimer and Adorno’s “Dialectic of Enlightenment”, Freud’s “Moses and Monotheism” and Bauman’s “Modernity and the Holocaust”, this article illustrates the difference between personal, collective and cultural trauma. All of those texts are connected to (...) the same event – the Holocaust – and the outcome of this event. Bauman and Adorno could have become the victims, but instead survived bearing the trauma, conceptualizing it and thus becoming predecessors of the cultural trauma theory. Ron Eyerman shows the complexity of the relationship between personal and collective trauma, and the construction of social theory. In analyzing these texts he goes into history of their creation, finding evidence of the traumatic experience of the authors. He also analyzes aesthetic characteristics of the texts, showing theese texts as not only pieces of social theorizing but also as personal experiences, trying to find meaning in gaps, voids and inconsistency. The aim is also to illustrate how personal trauma can impact the construction and representation of social theory. (shrink)

Reader response literary theory dominates the study of literature in the K -12 school curriculum. Because this theory reflects the student - centered, constructivist orientation currently driving curriculum development, reader response literary theory is central to guiding the literary experiences of children in schools. Student readers creatively engage in a transaction with a text driven by their personal purposes and experiences that leads to the construction of new, alternative voices and perspectives. This study employs hermeneutic phenomenology to inquire into the (...) experiencing of the transactive space of literary engagement to understand more fully how the transaction is lived and felt. Phenomenology can allow a better understanding of the lived, embodied experiencing in the transactive space created between reader and text and provide a fresh and meaningful account of how literature "works.". (shrink)

This article reports on the difference between points of view in narrating a short story. The EFL learners taking part in the control group were required to recount the events from the third person perspective and the subjects in the experimental group from the first person perspective. The methodological frame of the study was based on Koven’s ‘content analysis’ of codification of various speaker role inhabitances, published in the Journal of Pragmatics. The results demonstrate that the first person narrators’ recall (...) performance and the length of their stories are closer to the original version of the story than those of the other group, which indicates a specific ‘orientation’ towards the sequence of events. This was seen in the patterning of clauses as well as in authorial and interlocutory double voicing speech in the first person narrators, which may be justified by the enhancement of two components essential to literary engagement: namely, ‘aesthetic reading’ and ‘personal response’ as parts of ‘critical focalization’. (shrink)