...Elspeth Jajdelska; Christopher Butler; Steve Kelly; Allan McNeill; Katie Overy Vividness is used in a range of senses which often conflate the intensity of an experience with the accuracy of mental images. In this article we consider the vividness of responses to literary descriptions of faces...

...Renate Brosch This article deals with the phenomenology of reading narrative fictions, in particular with the production of mental imagery in the process of reading. Because readers differ in their capacities to visualize, this article proposes a distinction between default visualization and vivid...

... phenomenal experience—vivid perceptual images, deeply felt emotions, and bodily sensations—which are then integrated into episodic narratives, creating memory's second level. The core memories of atrocity are extraordinarily persistent—recent memories do not weaken or conceal them, and time does not diminish...

... ). Currie Gregory Ravenscroft Ian 2002 Recreative Minds: Imagination in Philosophy and Psychology ( Oxford : Clarendon ). D’Argambeau Arnaud van der Linden Martial 2006 “ Individual Differences in the Phenomenology of Mental Time Travel: The Effect of Vivid Visual Imagery...

... 107 Index to Volume 31 799 Jajdelska, Elspeth, Christopher Butler, Steve Kelly, Allan McNeill, and Katie Overy Crying, Moving, and Keeping It Whole: What Makes Literary Description Vivid? 433 Kelly, Steve. See...

... in her readers’ bodies, rendering the moral codes of her text physically tangible. Anatomizing examples of this narrative strategy in light of recent studies of motor resonance and the emotional and prosocial effects of reading, I eluci- date how such sensorimotor cues enhance the vividness...

... and present. And what is established is the vividness of her use of meta- phor, a recurrent feature of her characterization: her opening “plunge” into the morning, for example, is like a plunge into the open sea, given the wave imagery; and this captures her readiness to throw herself...

... is a story line that warms the heart of the audience that hears it. The practice of showing upbeat endings could justifiably be called the Schindlerization of Holocaust testimony. The survivor’s story begins in black-and-white—in tragedy, atrocity, and loss—and ends in vivid color, with the survivor...

..., the editors themselves represent one of these groups — the Tartu-Moscow semiotic school). Being an actual partici- pant in a group or a circle provides an inside perspective on its functioning, and it is no wonder that vivid memories about the “flesh and blood” of a certain intellectual movement...

... McNeill Allan Overy Katie 2010 “ Crying, Moving, and Keeping It Whole: What Makes Literary Description Vivid? ,” in Poetics Today 31 : 433 – 63 . Kafka Franz . 2006 [1917] “ A Country Doctor ,” in Kafka’s Selected Stories , translated by Corngold Stanley , 60 – 65 ( New...

... the motifs and values circulating in the sur- rounding culture and marshal them in a narrative work and whose effec- tiveness depends less on verisimilitude and more on the aptness, vividness, and in short, the rhetorical effectiveness of the creative adaptation of dis- course that a novel...

... in terms of response to social need. In his unfinished Poetics of Plots (Poetika sjuzhetov) he defines a plot motif as “a formula, responding, at the earliest stages of social life, to questions that nature everywhere posed for human beings, or fixing those impressions of reality that seemed most vivid...

...-oriented approach recu- perates the classical concept of ekphrasis, in which “it is the act of seeing that is imitated, not the object itself” (Webb 2009: 128). The effect holds for present- day examples: extraordinarily vivid images emerge in the reading experience typically when subjective, character...

... it is worth, the book possesses the additional 5 commendation of being artfully written and grippingly readable. It also provides a memorably vivid image of s Johannesburg as a crowded, rapidly expanding, multiethnic city, in which formal apartheid...

... percent of the students reported that they had had such an experience, and their stories turned out to be as vivid and compelling as the ones I had received as class papers. More than half of the respondents in the study reported that their exposure to media had produced distur- bances in their eating...

... of bodily experience . . . they depict bodily sensations . . . practically as vivid to us as our own.’ We know what he means, I suppose, but the accumulation of paraphrases points to a risky lack of precision, the same conceptual incom- pleteness that led to the demise of nineteenth-century...

... at the behavioral there is evidence of bidirectionality, at the level of conscious experience the synesthesia is uni- directional. Only in rare circumstances do synesthetes report vivid experi- ence of bidirectionality, as is the case with the synesthete I. S. (e.g., Cohen Kadosh, Tzelgov, and Henik 2008; Cohen...

... scenarios in art. Works of art that represent human affects (as all do to some degree) or affectual responses may be wan and attenuated (stylized), but they can also be vivid and rich.Wilson argues that the way to tell a representation from the in-the- world thing it evokes is by the kind of questions...

... scenarios in art. Works of art that represent human affects (as all do to some degree) or affectual responses may be wan and attenuated (stylized), but they can also be vivid and rich.Wilson argues that the way to tell a representation from the in-the- world thing it evokes is by the kind of questions...

... scenarios in art. Works of art that represent human affects (as all do to some degree) or affectual responses may be wan and attenuated (stylized), but they can also be vivid and rich.Wilson argues that the way to tell a representation from the in-the- world thing it evokes is by the kind of questions...