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

By Yanna B. Popova

This booklet provides an entire reconsideration of the character of narrative association constructed within the framework of a brand new and finished method of cognitive technological know-how: enaction. This new paradigm bargains an realizing of human cognition established within the conception and sensory motor dynamics of an agent and a global. It argues that narrative is yet one type of conceptual association for human minds, the opposite being specific association. advanced literary narratives, in addition to visible paintings, are situations within which either varieties of association coexist, and in later chapters the version is elaborated in terms of a few of these examples, in particular tales via Henry James and Gabriel García Márquez. the knowledge of narrative provided by means of Popova therefore cuts throughout the various middle matters in fields corresponding to narratology, cognitive psychology, and standard tale grammars.

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In the latter, which is often a kind of distortion or rearrangement of this same linear structure, causality is no less important, but it is less immediate, and more “mediated”, that is, defined over a longer time span (the term “mediated” originates with Todorov, 1977, p. 68), but also from a specific point of view. 17 In more complex literary narratives, action takes place on many levels, yet we are still able to reconstruct a psychological whole out of events which are commonly removed from each other on the temporal axis.

Classical narratology assumes the existence of an array of narrative universals (hypothetical features of narrative structure) and through a deductive method looks for these hypothesized universals in the data available.  66), Perceptual Causality and Narrative Causality 27 thus defining a separation between the series of events themselves and their narrating, or, the manner and order in which they are presented. A common assumption is that in narrative there is a chain of at least two events, although some theorists believe that a single event is sufficient for a minimal narrative.

It is also likely to contribute to intersubjectivity and how we understand other people. This is because in joint action we learn to control (stop, start, and imitate) each other’s acts as we control our own. In that sense, regulating, even synchronizing, our own actions to those of others is a prerequisite of all cultural development, from mother-baby interactions to complex cultural cooperation, as first suggested by Trevarthen (1979a). In the next sections I will elaborate on ways in which this proposal can be applied to theoretical considerations of how we construe meaning in narrative.

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