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  1. You 're a Good Structure, Charlie Brown: The Distribution of Narrative Categories in Comic Strips'.Neil Cohn - 2014 - Cognitive Science 38 (7):1317-1359.
    Cohn's (2013) theory of “Visual Narrative Grammar” argues that sequential images take on categorical roles in a narrative structure, which organizes them into hierarchic constituents analogous to the organization of syntactic categories in sentences. This theory proposes that narrative categories, like syntactic categories, can be identified through diagnostic tests that reveal tendencies for their distribution throughout a sequence. This paper describes four experiments testing these diagnostics to provide support for the validity of these narrative categories. In Experiment 1, participants reconstructed (...)
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  • Visual Narrative Structure.Neil Cohn - 2013 - Cognitive Science 37 (3):413-452.
    Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to a (...)
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  • The faculty of language: What is it, who has it, and how did it evolve?Hauser Marc, D. Chomsky, Noam Fitch & W. Tecumseh - 2002 - Science 298 (22):1569-1579.
    We argue that an understanding of the faculty of language requires substantial interdisciplinary cooperation. We suggest how current developments in linguistics can be profitably wedded to work in evolutionary biology, anthropology, psychology, and neuroscience. We submit that a distinction should be made between the faculty of language in the broad sense (FLB)and in the narrow sense (FLN). FLB includes a sensory-motor system, a conceptual-intentional system, and the computational mechanisms for recursion, providing the capacity to generate an infinite range of expressions (...)
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  • The Impact of Continuity Editing in Narrative Film on Event Segmentation.Joseph P. Magliano & Jeffrey M. Zacks - 2011 - Cognitive Science 35 (8):1489-1517.
    Filmmakers use continuity editing to engender a sense of situational continuity or discontinuity at editing boundaries. The goal of this study was to assess the impact of continuity editing on how people perceive the structure of events in a narrative film and to identify brain networks that are associated with the processing of different types of continuity editing boundaries. Participants viewed a commercially produced film and segmented it into meaningful events, while brain activity was recorded with functional magnetic resonance imaging (...)
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  • Discourse in Cognitive Grammar.Ronald W. Langacker - 2001 - Cognitive Linguistics 12 (2).
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  • The architecture of visual narrative comprehension: the interaction of narrative structure and page layout in understanding comics.Neil Cohn - 2014 - Frontiers in Psychology 5.
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  • The temporal structure of spoken language understanding.William Marslen-Wilson & Lorraine Komisarjevsky Tyler - 1980 - Cognition 8 (1):1-71.
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  • Parts and boundaries.Ray Jackendoff - 1992 - In Beth Levin & Steven Pinker (eds.), Lexical & conceptual semantics. Cambridge, Ma.: Blackwell. pp. 9-45.
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  • Silence is liberating: Removing the handcuffs on grammatical expression in the manual modality.Susan Goldin-Meadow, David McNeill & Jenny Singleton - 1996 - Psychological Review 103 (1):34-55.
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  • Parts and boundaries.Jackendoff Ray - 1991 - Cognition 41 (1-3):9-45.
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  • Beyond speech balloons and thought bubbles: The integration of text and image.Neil Cohn - 2013 - Semiotica 2013 (197):35-63.
    Name der Zeitschrift: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Jahrgang: 2013 Heft: 197 Seiten: 35-63.
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  • Abstraction in Comics.Jan Baetens - 2011 - Substance 40 (1):94-113.
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