Little, Brown, 1992 Review by Glenn Branch on Jul 5th 1999 Volume: 3, Number: 27.

According to rich views of consciousness (e.g., James, Searle), we have a constant, complex flow of experience (or 'phenomenology') in multiple modalities simultaneously. According to thin views (e.g., Dennett, Mack and Rock), conscious experience is limited to one or a few topics, regions, objects, or modalities at a time. Existing introspective and empirical arguments on this issue (including arguments from 'inattentional blindness') generally beg the question. Participants in the present experiment wore beepers during everyday activity. When a beep sounded, they (...) were to take note of the conscious experience, if any, they were having at the last undisturbed moment immediately prior to the beep. Some participants were asked to report any experience they could remember. Others were asked simply to report whether there was visual experience or not (and if so, what it was). Still others were asked about experience in the far right visual field, or tactile experience, or tactile experience in the left foot. A majority of participants in the full experience and the visual conditions reported visual experience in every single sample. Tactile and peripheral visual experience were reported less often. However, the proper interpretation of these results is uncertain. (shrink)

The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology of what I propose (...) to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. For each imagery variety, I make some elementary suggestions as to how it may typically be cued by distinct narrative strategies. (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)