Download Stories, meaning, and experience : narrativity and enaction by Yanna B. Popova PDF

By Yanna B. Popova

This ebook offers an entire reconsideration of the character of narrative association built within the framework of a brand new and finished method of cognitive technological know-how: enaction. This new paradigm bargains an knowing of human cognition established within the notion and sensory motor dynamics of an agent and a global. It argues that narrative is yet one kind of conceptual association for human minds, the opposite being express association. complicated literary narratives, in addition to visible artwork, are circumstances during which either forms of association coexist, and in later chapters the version is elaborated on the subject of a few of these examples, in particular tales through Henry James and Gabriel García Márquez. the certainty of narrative provided via Popova hence cuts throughout some of the middle concerns in fields similar to narratology, cognitive psychology, and standard tale grammars.

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This is why, I believe, the question of who tells the story and in what capacity is so important when thinking about the nature of narrativity. The narrative voice that we “hear” is the one for whom the story is intelligible and complete, or at least to some degree, and that knowledge is crucially important for the reader. Closure, as I will claim below, is a cognitive process of anticipation but also recognition that a state of partial knowledge (for the characters and/or the reader) will reach a conclusion, thereby necessitating a new way of seeing the world and therefore a change in experience for the reader.

Which are not easily transferable to other genres. Even when concerned with temporality on a limited scale, Propp maintained that the specific character roles determine the sequence of functions, which always follow the same order, another reductionist proposal that does not satisfy conditions outside of the particular texts that Propp studied. Greimas is another structuralist who further limited and simplified Propp’s functions into six actants and three psychologically defined axes: of desire, of communication, and of conflict, all forming pairs of respective contraries and contradictories of semantic opposition (Greimas, 1966/1983).

Shape is assumed to form a basis for memory, thus prompting the mind to assign to any given perceptual shape a causal history Perceptual Causality and Narrative Causality 33 that can explain it. Crucially, in this process the symmetry and asymmetry of an object (as revealed in its shape) are seen to explain our perceptual interaction with it. Thus, observed asymmetry in the present moment (a dent on a car, a crumpled newspaper, a broken vase) is seen as the memory trace of prior events that have taken place in relation to the given object.

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