Neurocognitive Poetics Research Articles

Poet and Psychologist: A Conversation

ABSTRACT I consider poetry composition from both the “inside” view of a poet and the “outside” view of a cognitive psychologist. From the perspective of a psychologist, I review behavioral and neural studies of the reception and generation of poetry, with emphasis on metaphor and symbolism. Taking the perspective of a poet, I discuss how the seeds for a poem may arise. Finally, I consider the prospects for future developments in a field of computational neurocognitive poetics.

'Looking before and after': Can simple eye tracking patterns distinguish poetic from prosaic texts?

The study of 'serious' literature has recently developed into an emerging field called neurocognitive poetics that applies cognitive neuroscientific techniques to examine how we understand and appreciate poetry. The current research used eye-tracking techniques on a small sample of young adults to see if and how the reading of short pieces of poetry differed from the reading of matched prosaic texts. With 'proof of concept' intentions reflecting arguments first proposed by 19th Century literary figures, there was a particular focus on the differences between the reading of poetry and prose in terms number and frequency of fixations and regressive eye movements back and forth within the texts in this two-by-two experimental design (poetry vs. prose x need vs. no need for final line reappraisal). It was found that poetic pieces compared to prosaic pieces were associated with more and longer fixations and more regressive eye movements throughout the text. The need to reappraise meaning at the prompt of a final line was only significantly associated with more regressive eye movements. Comparisons examining the 4 text conditions (poetic reappraisal, poetic non-reappraisal, prosaic reappraisal, and prosaic non-reappraisal) showed that the poetic reappraisal condition was characterised by significantly more regressive eye movements as well as longer fixations compared to the prosaic non-reappraisal condition. No significant correlations were found between self-reported literary familiarity and eye tracking patterns. Despite limitations, this proof-of-concept study provides insights into reading patterns that can help to define objectively the nature of poetic material as requiring slower reading particularly characterised by more and longer fixations and eye movements backwards through the texts compared to the faster, more linear reading of prose. Future research using these, and other psychophysiological metrics can begin to unpack the putative cognitive benefits of reading literary material.

Tasting the Transcendent

Modern views of poetry tend to concord with Wallace Stevens’s insistence that “God and the imagination are one,” assuming that the only meaning there is in the natural world is that which the poet makes. But Denise Levertov held instead that the poet’s word is a response to the beauty of the world as given by God, and that the poet’s task is to invite the reader to resonate with that experience. Drawing on current research from neurocognitive poetics that indicates how readers experience beauty in language, this essay seeks to demonstrate how Levertov’s poem, “O Taste and See,” embodies an invitation for the reader to engage one’s senses in the discovery of God through the beauty of poetry and created being.

Shakespeare sonnet reading: An empirical study of emotional responses

The present study combines literary theory and cognitive psychology to empirically explore some cognitive and emotional facets of poetry reading, exemplified by the reading of three Shakespeare sonnets. Specifically, predictions generated combining quantitative textual analysis according to the Neurocognitive Poetics model with qualitative textual analysis based on the Foregrounding assessment Matrix of sonnets no. 27, 60 and 66 are empirically tested by analyzing 45 subjects’ ratings of the three sonnets. Reflecting the differences in foregrounding potential of the three sonnets found in the textual analysis, we expected to find different reader responses, accordingly. Our dependent variables are well-established categories of emotional evaluation (e.g. valence and arousal) and cognitive, affective and aesthetic aspects of readers’ responses (e.g. liking and understanding) as well as less common ones (e.g. wonder, delight and mental images). The statistical analyses suggest that the type of foregrounding is more important than the number of foregrounded elements. This finding motivated further qualitative exploration of reader responses to open questions regarding mental images and perceived feelings. Comparing the free recall data about the feelings perceived in the sonnets with the ratings data about Valence and Arousal indicated that only the former one reflects a clear distinction between all three sonnets, whereas the readers’ overall evaluations did not sustain this variety of feelings. Multi-method, interdisciplinary research of this kind contributes to improving our understanding of the potentially unique mechanisms involved in poetry reception, and to forming more precise hypotheses for future experimental studies using, for example, eye tracking.

Micropoetry Meets Neurocognitive Poetics: Influence of Associations on the Reception of Poetry.

Reading and understanding poetic texts is often described as an interactive process influenced by the words and phrases building the poems and all associations and images induced by them in the readers mind. Iser, for example, described the understanding process as the closing of a good Gestalt promoted by mental images. Here, we investigate the effect that semantic cohesion, that is the internal connection of a list words, has on understanding and appreciation of poetic texts. To do this, word lists are presented as modern micropoems to the participants and the (ease of) extraction of underlying concepts as well as the affective and aesthetic responses are implicitly and explicitly measured. We found that a unifying concept is found more easily and unifying concepts vary significantly less between participants when the words composing a micropoem are semantically related. Moreover these items are liked better and are understood more easily. Our study shows evidence for the assumed relationship between building spontaneous associations, forming mental imagery, and understanding and appreciation of poetic texts. In addition, we introduced a new method well-suited to manipulate backgrounding features independently of foregrounding features which allows to disentangle the effects of both on poetry reception.

Deixis am Phantasma as a Background Element and its Influence on the Processing of Poetry

Deixis am phantasma is a linguistic device used in poetic texts to point to the uniqueness of an object of reference without directly revealing it. From a neurocognitive poetics model (NCPM) perspective, deixis am phantasma is a background element that activates existing knowledge, creates a sense of familiarity during reading, and is interrelated with text immersion. In our study, we aimed to investigate how the ability to identify the object of a deictic reference influences the processing of poetic texts. In a self-paced reading experiment, original poetic texts containing deixis am phantasma were preceded by a comment that either contained or did not contain information about the object of the deictic reference. The results showed that deixis am phantasma processing depends not only on the reader’s knowledge about the imaginary referent but also on the level of text immersion. When the level of immersion is high and the reader possesses knowledge about the object of reference, there is a significant decrease in reading times of the line with the deixis. Difficulties in processing occur only when the referent of the deictic expression is unknown to the reader and the level of text immersion is low, while no slowdown is observed when there is a high level of immersion. We suggest that when the reader is fully immersed into the textual world, an inability to establish reference is interpreted as a lack of knowledge, while in a situation with incomplete immersion, it is perceived as a communication abnormality.

NeuroDante: Poetry Mentally Engages More Experts but Moves More Non-Experts, and for Both the Cerebral Approach Tendency Goes Hand in Hand with the Cerebral Effort.

Neuroaesthetics, the science studying the biological underpinnings of aesthetic experience, recently extended its area of investigation to literary art; this was the humus where neurocognitive poetics blossomed. Divina Commedia represents one of the most important, famous and studied poems worldwide. Poetry stimuli are characterized by elements (meter and rhyme) promoting the processing fluency, a core aspect of neuroaesthetics theories. In addition, given the evidence of different neurophysiological reactions between experts and non-experts in response to artistic stimuli, the aim of the present study was to investigate, in poetry, a different neurophysiological cognitive and emotional reaction between Literature (L) and Non-Literature (NL) students. A further aim was to investigate whether neurophysiological underpinnings would support explanation of behavioral data. Investigation methods employed: self-report assessments (recognition, appreciation, content recall) and neurophysiological indexes (approach/withdrawal (AW), cerebral effort (CE) and galvanic skin response (GSR)). The main behavioral results, according to fluency theories in aesthetics, suggested in the NL but not in the L group that the appreciation/liking went hand by hand with the self-declared recognition and with the content recall. The main neurophysiological results were: (i) higher galvanic skin response in NL, whilst higher CE values in L; (ii) a positive correlation between AW and CE indexes in both groups. The present results extended previous evidence relative to figurative art also to auditory poetry stimuli, suggesting an emotional attenuation “expertise-specific” showed by experts, but increased cognitive processing in response to the stimuli.

Following in Jakobson and Lévi-Strauss' footsteps: A neurocognitive poetics investigation of eye movements during the reading of Baudelaire's 'Les Chats'.

Following Jakobson and Levi-Strauss [1] famous analysis of Baudelaire’s poem ‘Les Chats’ (‘The Cats’), in the present study we investigated the reading of French poetry from a Neurocognitive Poetics perspective. Our study is exploratory and a first attempt in French, most previous work having been done in either German or English (e.g. [2] [3] [4] [5] [6]). We varied the presentation mode of the poem Les Chats (verse vs. prose form) and measured the eye movements of our readers to test the hypothesis of an interaction between presentation mode and reading behavior. We specifically focussed on rhyme scheme effects on standard eye movement parameters. Our results replicate those from previous English poetry studies in that there is a specific pattern in poetry reading with longer gaze durations and more rereading in the verse than in the prose format. Moreover, presentation mode also matters for making salient the rhyme scheme. This first study generates interesting hypotheses for further research applying quantitative narrative analysis to French poetry and developing the Neurocognitive Poetics Model of literary reading [NCPM; 2] into a cross-linguistic model of poetry reading.

Reading English-language haiku: An eye-movement study of the 'cut effect'.

The current study, set within the larger enterprise of Neuro-Cognitive Poetics, was designed to examine how readers deal with the ‘cut’ – a more or less sharp semantic-conceptual break – in normative, three-line English-language haiku poems (ELH). Readers were presented with three-line haiku that consisted of two (seemingly) disparate parts, a (two-line) ‘phrase’ image and a one-line ‘fragment’ image, in order to determine how they process the conceptual gap between these images when constructing the poem’s meaning – as reflected in their patterns of reading eye movements. In addition to replicating the basic ‘cut effect’, i.e., the extended fixation dwell time on the fragment line relative to the other lines, the present study examined (a) how this effect is influenced by whether the cut is purely implicit or explicitly marked by punctuation, and (b) whether the effect pattern could be delineated against a control condition of ‘uncut’, one-image haiku. For ‘cut’ vs. ‘uncut’ haiku, the results revealed the distribution of fixations across the poems to be modulated by the position of the cut (after line 1 vs. after line 2), the presence vs. absence of a cut marker, and the semanticconceptual distance between the two images (context–action vs. juxtaposition haiku). These formal-structural and conceptual-semantic properties were associated with systematic changes in how individual poem lines were scanned at first reading and then (selectively) re-sampled in second- and third-pass reading to construct and check global meaning. No such effects were found for one-image (control) haiku. We attribute this pattern to the operation of different meaning resolution processes during the comprehension of two-image haiku, which are invoked by both form- and meaning-related features of the poems.

Sentiment Analysis for Words and Fiction Characters From the Perspective of Computational (Neuro-)Poetics.

Two computational studies provide different sentiment analyses for text segments (e.g., “fearful” passages) and figures (e.g., “Voldemort”) from the Harry Potter books (Rowling, 1997, 1998, 1999, 2000, 2003, 2005, 2007) based on a novel simple tool called SentiArt. The tool uses vector space models together with theory-guided, empirically validated label lists to compute the valence of each word in a text by locating its position in a 2d emotion potential space spanned by the words of the vector space model. After testing the tool's accuracy with empirical data from a neurocognitive poetics study, it was applied to compute emotional figure and personality profiles (inspired by the so-called “big five” personality theory) for main characters from the book series. The results of comparative analyses using different machine-learning classifiers (e.g., AdaBoost, Neural Net) show that SentiArt performs very well in predicting the emotion potential of text passages. It also produces plausible predictions regarding the emotional and personality profile of fiction characters which are correctly identified on the basis of eight character features, and it achieves a good cross-validation accuracy in classifying 100 figures into “good” vs. “bad” ones. The results are discussed with regard to potential applications of SentiArt in digital literary, applied reading and neurocognitive poetics studies such as the quantification of the hybrid hero potential of figures.

The Fictive Brain: Neurocognitive Correlates of Engagement in Literature

Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental simulation and imagery, figurative language and style, and the issue of distinguishing fact from fiction. An overview of recent work on these key processes is followed by a discussion of methodological challenges in studying the brain bases of fiction processing.

The Gutenberg English Poetry Corpus: Exemplary Quantitative Narrative Analyses

This paper describes a corpus of about 3000 English literary texts with about 250 million words extracted from the Gutenberg project that span a range of genres from both fiction and non-fiction written by more than 130 authors (e.g., Darwin, Dickens, Shakespeare). Quantitative Narrative Analysis (QNA) is used to explore a cleaned subcorpus, the Gutenberg English Poetry Corpus (GEPC) which comprises over 100 poetic texts with around 2 million words from about 50 authors (e.g., Keats, Joyce, Wordsworth). Some exemplary QNA studies show author similarities based on latent semantic analysis, significant topics for each author or various text-analytic metrics for George Eliot’s poem ‘How Lisa Loved the King’ and James Joyce’s ’Chamber Music’, concerning e.g. lexical diversity or sentiment analysis. The GEPC is particularly suited for research in Digital Humanities, Natural Language Processing or Neurocognitive Poetics, e.g. as training and test corpus, or for stimulus development and control.

Quantifying the Beauty of Words: A Neurocognitive Poetics Perspective.

In this paper I would like to pave the ground for future studies in Computational Stylistics and (Neuro-)Cognitive Poetics by describing procedures for predicting the subjective beauty of words. A set of eight tentative word features is computed via Quantitative Narrative Analysis (QNA) and a novel metric for quantifying word beauty, the aesthetic potential is proposed. Application of machine learning algorithms fed with this QNA data shows that a classifier of the decision tree family excellently learns to split words into beautiful vs. ugly ones. The results shed light on surface and semantic features theoretically relevant for affective-aesthetic processes in literary reading and generate quantitative predictions for neuroaesthetic studies of verbal materials.

What’s in the brain that ink may character ….

AbstractIn this theoretical paper, we would like to pave the ground for future empirical studies in Neurocognitive Poetics by describing relevant properties ofShakespeare’s 154 sonnetsextracted via Quantitative Narrative Analysis. In the first two parts, we quantify aspects of the sonnets’ cognitive and affective-aesthetic features, as well as indices of their thematic richness, symbolic imagery, and semantic association potential. In the final part, we first demonstrate how the results of these quantitative narrative analyses can be used for generating testable predictions for empirical studies of literature. Second, we feed the quantitative narrative analysis data into a machine learning algorithm which successfully classifies the 154 sonnets into two main categories, i.e. theyoung mananddark ladypoems. This shows how quantitative narrative analysis data can be combined with computational modeling for identifying those of the many quantifiable sonnet features that may play a key role in their reception.

“The Brain Is the Prisoner of Thought”: A Machine-Learning Assisted Quantitative Narrative Analysis of Literary Metaphors for Use in Neurocognitive Poetics

ABSTRACTTwo main goals of the emerging field of neurocognitive poetics are (a) the use of more natural and ecologically valid stimuli, tasks and contexts and (b) providing methods and models allowing to quantify distinctive features of verbal materials used in such tasks and contexts and their effects on readers responses. A natural key element of poetic language, metaphor, still is understudied insofar as relatively little empirical research looked at literary or poetic metaphors. An exception is Katz et al.’s corpus of 204 literary metaphors by authors such as Shakespeare or Dylan Thomas, for which various rating data are available. We reanalyzed their corpus using a combination of quantitative narrative analysis, latent semantic analysis, and machine learning in order to identify relevant features of the metaphors that influenced the ratings. The combined application of computational tools sheds light on surface and affective-semantic features that co-determine the reception of poetic metaphors and successfully predicted the period of origin (i.e., early vs. late), authorship (e.g., Byron vs. Donne) and goodness ratings of the metaphors. The present results can be used for generating quantitative hypotheses or selecting and matching verbal stimuli in empirical studies of literature and neurocognitive poetics.

Rhetoric, Neurocognitive Poetics, and the Aesthetics of Adaptation

Rhetorical effects in speech and writing have a great strategic importance in achieving the communicative end of being persuasive: they are key in the exertion of power through language. Persuasion occurs by cognitive-affective stimulation, relying on specific psychosomatic perceptual patterns which are used on all levels of speech reception in cultural and political contexts. This makes rhetorically conspicuous texts efficient as stimulus material for empirical research into neurocognitive modeling of how poetic texts are read. Adaptations as revisitations of prior works share with the rhetorical repertoire of repetition similar cognitive-affective properties, because both function via recognition of sameness or similarity. Recent paradigm shifts in adaptation studies have much enlarged the field of research, so Linda Hutcheon's as yet empirically unsupported insight that adaptation is the norm and not the exception in human imagination finds an unexpectedly large field of application. This shift away from the narrow standard paradigm of novels adapted for the screen to a more fundamental aesthetics of adaptation has also helped establish connections between adaptation studies and the experiment-based methodologies of empirical aesthetics and neuroaesthetics with a view to developing cognitive and affective models of the processes underlying the reception of adaptations.

On Elementary Affective Decisions: To Like Or Not to Like, That Is the Question.

Perhaps the most ubiquitous and basic affective decision of daily life is deciding whether we like or dislike something/somebody, or, in terms of psychological emotion theories, whether the object/subject has positive or negative valence. Indeed, people constantly make such liking decisions within a glimpse and, importantly, often without expecting any obvious benefit or knowing the exact reasons for their judgment. In this paper, we review research on such elementary affective decisions (EADs) that entail no direct overt reward with a special focus on Neurocognitive Poetics and discuss methods and models for investigating the neuronal and cognitive-affective bases of EADs to verbal materials with differing degrees of complexity. In line with evolutionary and appraisal theories of (aesthetic) emotions and data from recent neurocognitive studies, the results of a decision tree modeling approach simulating EADs to single words suggest that a main driving force behind EADs is the extent to which such high-dimensional stimuli are associated with the “basic” emotions joy/happiness and disgust.

Neurocognitive poetics: methods and models for investigating the neuronal and cognitive-affective bases of literature reception.

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain constructs the world in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives.