This paper focuses on the performative character of fictional language. While assuming that all speaking is a form of acting, it aims to shed light on the nature of fictional, and particularly literary, speech acts. To this aim, relevant input can be found in the discussion of the ontological status of fictional entities and of their constitution and in the inquiry into the interaction between author and receiver of a fictional work. Based on the critical (...) assessment of different approaches in the debate on speech-act theory and literary fiction, the article first clarifies why the study of the performative character of fictional language cannot be reduced to either the discussion of the status of singular speech acts in the fiction or the inquiry into the pretend or unserious nature of fictional speech acts formulated by an author. While referring to Roman Ingarden’s, Jean-Paul Sartre’s, and Wolfgang Iser’s work, it subsequently argues that such a performative character should be understood as a specific serious affordance—or appeal—to imagine and thus to participate in the constitution of the fictional world. (shrink)

Modernist Fiction and Vagueness marries the artistic and philosophical versions of vagueness, linking the development of literary modernism to changes in philosophy. This book argues that the problem of vagueness - language's unavoidable imprecision - led to transformations in both fiction and philosophy in the early twentieth century. Both twentieth-century philosophers and their literary counterparts were fascinated by the vagueness of words and the dream of creating a perfectly precise language. Building on recent interest in the connections between (...) analytic philosophy, pragmatism, and modern literature, Modernist Fiction and Vagueness demonstrates that vagueness should be read not as an artistic problem but as a defining quality of modernist fiction. (shrink)

This volume brings together new research on fiction from the fields of philosophy and linguistics. Fiction has long been a topic of interest in philosophy, but recent years have also seen a surge in work on fictional discourse at the intersection between linguistics and philosophy of language. In particular, there has been a growing interest in examining long-standing issues concerning fiction from a perspective that is informed both by philosophy and linguistic theory. -/- Following a detailed introduction by (...) the editors, The Language of Fiction contains 14 chapters by leading scholars in linguistics and philosophy, organized into three parts. Part I, 'Truth, Reference, and Imagination', offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, 'Storytelling', deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, 'Perspective Shift', focuses on an alleged key characteristic of fictional narratives, namely how we get access to the fictional characters' inner lives, through a variety of literary techniques for representing what they say, think, or see. The volume will be of interest to scholars from graduate level upwards in the fields of discourse analysis, semantics and pragmatics, philosophy of language, psychology, cognitive science, and literary studies. -/- Table of Contents 1:Introduction, Emar Maier and Andreas Stokke Part I: Truth, Reference, and Imagination 2:Fictional reference as simulation, François Recanati 3:Sharing real and fictional reference, Hans Kamp 4:Fictional truth: In defense of the reality principle, Nils Franzén 5:On the generation of content, Sandro Zucchi 6:Do the imaginings that fictions invite have a direction of fit?, Manuel García-Carpintero Part II: Storytelling 7:In search of the narrator, Regine Eckardt 8:Extracting fictional truth from unreliable sources, Emar Maier and Merel Semeijn 9:Narrative and point-of-view, Samuel Cumming 10:A puzzle about narrative progression and causal reasoning, Daniel Altshuler 11:Isomorphic mapping in fictional interpretation, Matthias Bauer and Sigrid Beck Part III: Perspective Shift 12:Metalinguistic acts in fiction, Nellie Wieland 13:Computing perspective shift in narratives, Márta Abrusán 14:Derogatory terms in free indirect discourse, Isidora Stojanovic 15:Protagonist projection, character-focus, and mixed quotation, Andreas Stokke. (shrink)

This book maps out the lexico-conceptual articulation of Greene's narrative dramatization of ethical situations. This main aim issues from three working hypotheses: in the first place, a reduced set of terms such as peace, despair, pity or commitment have a striking lexical recurrence in Greene's texts. They are considered here as keywords that articulate his discourse at a conceptual level. In the second place, those keywords are invested with narrative potential. They have the capacity to generate narrative situations and developments. (...) In the third place, they articulate a particular narrative pattern. Such lexico-conceptual articulation is shaped mainly as ethical conflict dramatized in narrative form. Drawing on contemporary theories of community and ethics developed by Jean-Luc Nancy, Maurice Blanchot, J. Hillis Miller or Derek Attridge, this book sets out to explore a recurrent narrative pattern in Greene's work, emerging from his personal use of the language of ethics and community. (shrink)

Fictional discourse and fictional languages provide useful test cases for theories of meaning. In this paper, we argue against truth-conditional accounts of meaning on the basis of problems posed by language(s) of fiction. It is well-known how fictional discourse -- discourse about non-existent objects -- poses a problem for truth-conditional theories of meaning. Less well-considered, however, are the problems posed by fictional languages, which can be created to either be meaningful or not to be meaningful; (...) both of these ultimately also provide problems for a truth-conditional account of meaning, because it cannot account for the ways in which we use and evaluate such fictional languages. (shrink)

Fictional Discourse: A Radical Fictionalist Semantics combines the insight of linguistic and philosophical semantics with the study of fictional language. Its central idea is familiar to anyone exposed to the ways of narrative fiction, namely the notion of a fictional teller. Starting with premises having to do with fictional names such as 'Holmes' or 'Emma', Stefano Predelli develops Radical Fictionalism, a theory that is subsequently applied to central themes in the analysis of fiction. Among other (...) things, he discusses the distinction between storyworlds and narrative peripheries, the relationships between homodiegetic and heterodiegetic narrative, narrative time, unreliability, and closure. The final chapters extend Radical Fictionalism to critical discourse, as Predelli introduces the ideas of critical and biased retelling, and pauses on the relationships between Radical Fictionalism and talk about literary characters. (shrink)

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come (...) to understand how other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

Fictional terms are terms that have null extensions, and in this regard pejorative terms are a species of fictional terms: although there are Jews, there are no kikes. That pejoratives are fictions is the central consequence of the Moral and Semantic Innocence (MSI) view of Hom et al. (2013). There it is shown that for pejoratives, null extensionality is the semantic realization of the moral fact that no one ought to be the target of negative moral evaluation solely (...) in virtue of their group membership. In having null extensions, pejorative terms are much like mythological terms like ‘unicorn horn’ that express concepts with empty extensions, even though it was thought otherwise: people who falsely believed the mythology were mislead into thinking that ordinary objects (i.e. whale tusks) were magical objects, and pejoratives terms work likewise. For example, the term ‘kike’ is supported by the ideology of anti-Semitism, and speakers who fall prey to its influence (perniciously or not) are mislead into thinking that ordinary people (i.e. Jews) are inherently worthy of contempt. In this paper, we explore the consequences of this parallelism, with an eye to criticisms of MSI. In particular, we will re-visit identity expressivist views - those that hold that there are kikes and that they are Jews, and hence deny null extensionality - arguing that this embeds a mistake of fiction for fact. Among the issues to be discussed are the role of fictional truth in understanding pejorative sentences and the relation of the semantics of pejoratives to offensive use of language. We conclude with meta-semantic reflections on the origins of word meanings. (shrink)

In terms of the distinction between relationalist and substantialist philosophies of science opened up by American pragmatist thinkers like Dewey and Bentley, Bentham’s social ontology is relationalist and anti-substantialist. When the ontology is combined with his emphasis on ordinary language as the basis of social reality, it is seen to have thematic connections to later developments in social science such as social constructionism, social phenomenology, ethnomethodology and, due to its intent to critically question-received fictions, to neo-Marxian and other concerns (...) about objectivation and reification. Also, by re-reading Bentham’s theory of fictions as a theory of vernacular language habits, it can be shown to have empirical relevance for the sociology of language. (shrink)

Stories, in pictorial format, orally narrated, and later on as narrative texts, have played a key role in human evolution and to this day continue to surreptitiously teach us things and skills. In recent decades, psychologists and cognitive scientists have begun documenting the role of stories, and particularly fiction, in refining our sociocognitive skills. In this essay, I focus specifically on how stories, particularly written fiction, hone our emotion recognition skills. I present a brief overview of existing theorizing and research (...) findings, and propose the less-is-more hypothesis, according to which emotion recognition skills are sharpened by stories that do not tell us, but rather show us the emotional life of fictional characters. (shrink)

John Woods' The Logic of Fiction, now thirty-five years old, is a ground-breaking event in the establishment of the semantics of fiction as a stand-alone research programme in the philosophies of language and logic. There is now a large literature about these matters, but Woods' book retains a striking freshness, and still serves as a convincing template of the treatment options for the field's key problems. The book now appears in a second edition with a new Foreword by Nicholas (...) Griffin and an extended bibliography covering the period 1969-2009. As Griffin notes in his Foreword, it is "surprising on looking back to discover how little was written on the semantics of fiction before John Woods' The Logic of Fiction was published in 1974. The surprise is the greater because Woods' book appeared after almost a quarter century of fierce philosophical debate about reference Fictional discourse, one would have thought, would be an important testing ground for philosophical theories of referential expressions and one, moreover, in which the standard theories would likely be tested to destruction. " " One of the great merits of Woods' book is that it takes seriously the wide-ranging demands that fiction imposes on logic and semantics, and does not try to force fiction into some pre-conceived logical mould. but thanks to Woods' pioneering efforts, we are much closer to one now than we were when he set out to write his book. His book was not the last word on the logic of fiction; it was much more important: it was nearly the first." NICHOLAS GRIFFIN is Canada Research Chair in Philosophy at McMaster University. Recent publications include Russell vs Meinong: The Legacy of "On Denoting," edited with Dale Jacquette. JOHN WOODS is Director of the Abductive Systems Group at the University of British Columbia and Charles S. Peirce Visiting Professor of Logic in the Group on Logic and Computational Science, King's College London. He has two forthcoming books on fiction - an edited volume, Fictions and Models: New Essays, and a research monograph, Sherlock's Member: New Perspectives on the Semantics of Fiction, both to appear in 2010. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...) language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

Fictional characters do not really exist. Names of fictional characters refer, to fictional characters. We should divorce the idea of reference from that of existence (the picture of the name as a tag has limited applications; the Predicate Calculus, with its existential quantifier, does not adequately reflect the relevant concepts in natural language; and model theory, with its domains, might also have been misleading). Many puzzle-cases are resolved this way (among other things, there is no problem (...) assigning negative existential statements the appropriate truth values). And fictional characters, although not existing, have real powers through their representations, which are real. (shrink)

The recent discussion of fictional models has focused on imagination, implicitly considering fictions as something nonconcrete. We present two cases from synthetic biology that can be viewed as concrete fictions. Both minimal cells and alternative genetic systems are modal in nature: they, as well as their abstract cousins, can be used to study unactualized possibilia. We approach these synthetic constructs through Vaihinger’s notion of a semi-fiction and Goodman’s notion of semifactuality. Our study highlights the relative existence of such concrete (...) fictions. Before their realizations neither minimal cells nor alternative genetic systems were any well-defined objects, and the subsequent experimental work has given more content to these originally schematic imaginings. But it is as yet unclear whether individual members of these heterogeneous groups of somewhat functional synthetic constructs will eventually turn out to be fully realizable, remain only partially realizable, or prove outright impossible. (shrink)

The goal of this paper is to present and defend an inferentialist account of the meaning of fictional names on the basis of Sellars-Brandom’s inferentialist semantics and a Brandomian anaphoric theory of reference. On this inferentialist account, the meaning of a fictional name is constituted by the relevant language norms which provide the correctness conditions for its use. In addition, the Brandomian anaphoric theory of reference allows us to understand reference in terms of anaphoric word-word relations, rather (...) than substantial word-world relations. In this paper I argue that this inferentialist account has many important merits over its rival theories. One important merit is that it explains why we can use fictional names to make true statements, even if they lack bearers. As a consequence, this theory allows us to use fictional names without committing ourselves to an implausible ontology of fictional entities. Another important merit is that it provides a uniform semantic account of fictional names across different types of statements in which fictional names are involved. (shrink)

In this paper, I argue that sentences that contain ‘omission’ tokens that appear to function as singular terms are meaningful while maintaining the view that omissions are nothing at all or mere absences. I take omissions to be fictional entities and claim that the way in which sentences about fictional characters are true parallels the way in which sentences about omissions are true. I develop a pragmatic account of fictional reference and argue that my fictionalist account of (...) omissions implies a plausible account of the metaphysics of omissions. (shrink)

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which (...) we are inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (shrink)

Fiction, Reference, and Nonexistence contains a new, contemporary theory of fiction and discusses the connection between language and reality. Martinich and Stroll, two of America's leading philosophers, explore fiction and undertake an analytic philosophical study of fiction and its reference, and its relation to truth.

This paper discusses modeling from the artifactual perspective. The artifactual approach conceives models as erotetic devices. They are purpose-built systems of dependencies that are constrained in view of answering a pending scientific question, motivated by theoretical or empirical considerations. In treating models as artifacts, the artifactual approach is able to address the various languages of sciences that are overlooked by the traditional accounts that concentrate on the relationship of representation in an abstract and general manner. In contrast, the artifactual approach (...) focuses on epistemic affordances of different kinds of external representational and other tools employed in model construction. In doing so, the artifactual account gives a unified treatment of different model types as it circumvents the tendency of the fictional and other representational approaches to separate model systems from their “model descriptions”. (shrink)

Several accounts of the nature of fiction have been proposed that draw on speech act theory. I argue that speech act theory is insufficient for this task. Martinich’s, Searle’s and Currie’s accounts are considered and rejected. However dependent fiction may be on the intentional structure of communication, focus on this structure diverts attention from works themselves in an unhelpful way. The weakness inherent in speech act theory is that it does not have the resources to capture the most interesting processes (...) of interpretation in our engagement with fictions, those by which we construct their content and those through which they achieve their intended effects. (shrink)

This paper argues for an account of fictional force, the central characteristic of the kind of non-assertoric speech act that authors of fictions are engaged in. A distinction is drawn between what is true in a fiction and the _fictional record_ comprising what the audience has been told. The papers argues that to utter a sentence with fictional force is to intend that its content be added to a fictional record. It is shown that this view accounts (...) for phenomena such as conversational implicatures in fictional discourse. Moreover, the view is seen to provide an attractive way of distinguishing fictional utterances from assertoric utterances. As a consequence, this account of fictional force offers a satisfactory way of distinguishing fiction from lying. (shrink)

In the twelfth and thirteenth centuries, new ways of storytelling and inventing fictions appeared in the French-speaking areas of Europe. This new art still influences our global culture of fiction. Virginie Greene explores the relationship between fiction and the development of neo-Aristotelian logic during this period through a close examination of seminal literary and philosophical texts by major medieval authors, such as Anselm of Canterbury, Abélard, and Chrétien de Troyes. This study of Old French logical fictions encourages a broader theoretical (...) reflection about fiction as a universal human trait and a defining element of the history of Western philosophy and literature. Additional close readings of classical Greek philosophers Plato and Aristotle, and modern analytic philosophy including the work of Bertrand Russell and Rudolf Carnap, demonstrate peculiar traits of Western rationalism and expose its ambivalent relationship to fiction. (shrink)

This monograph examines truth in fiction by applying the techniques of a naturalized logic of human cognitive practices. The author structures his project around two focal questions. What would it take to write a book about truth in literary discourse with reasonable promise of getting it right? What would it take to write a book about truth in fiction as true to the facts of lived literary experience as objectivity allows? It is argued that the most semantically distinctive feature of (...) the sentences of fiction is that they are unambiguously true and false together. It is true that Sherlock Holmes lived at 221B Baker Street and also concurrently false that he did. A second distinctive feature of fiction is that the reader at large knows of this inconsistency and isn't in the least cognitively molested by it. Why, it is asked, would this be so? What would explain it? Two answers are developed. According to the no-contradiction thesis, the semantically tangled sentences of fiction are indeed logically inconsistent but not logically contradictory. According to the no-bother thesis, if the inconsistencies of fiction were contradictory, a properly contrived logic for the rational management of inconsistency would explain why readers at large are not thrown off cognitive stride by their embrace of those contradictions. As developed here, the account of fiction suggests the presence of an underlying three - or four-valued dialethic logic. The author shows this to be a mistaken impression. There are only two truth-values in his logic of fiction. The naturalized logic of Truth in Fiction jettisons some of the standard assumptions and analytical tools of contemporary philosophy, chiefly because the neurotypical linguistic and cognitive behaviour of humanity at large is at variance with them. Using the resources of a causal response epistemology in tandem with the naturalized logic, the theory produced here is data-driven, empirically sensitive, and open to a circumspect collaboration with the empirical sciences of language and cognition. (shrink)

Fictional truth, or truth in fiction/pretense, has been the object of extended scrutiny among philosophers and logicians in recent decades. Comparatively little attention, however, has been paid to its inferential relationships with time and with certain deliberate and contingent human activities, namely, the creation of fictional works. The aim of the paper is to contribute to filling the gap. Toward this goal, a formal framework is outlined that is consistent with a variety of conceptions of fictional truth (...) and based upon a specific formal treatment of time and agency, that of so-called stit logics. Moreover, a complete axiomatic theory of fiction-making TFM is defined, where fiction-making is understood as the exercise of agency and choice in time over what is fictionally true. The language \ of TFM is an extension of the language of propositional logic, with the addition of temporal and modal operators. A distinctive feature of \ with respect to other modal languages is a variety of operators having to do with fictional truth, including a ‘fictionality’ operator \ . Some applications of TFM are outlined, and some interesting linguistic and inferential phenomena, which are not so easily dealt with in other frameworks, are accounted for. (shrink)

This article criticises existing solutions to the 'puzzle of imaginative resistance', reconstrues it, and offers a solution of its own. About the Book : Imagination, Philosophy and the Arts is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind (...) of sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. (shrink)

The paper attempts at yielding a language-independent argument in favour of fictional entities, that is, an argument providing genuinely ontological reasons in favour of such entities. According to this argument, ficta are indispensable insofar as they are involved in the identity conditions of semantically-based entities we ordinarily accept, i.e. fictional works. It will also be evaluated to what extent this argument is close to other arguments recently provided to the same purpose.

In this paper, I want to deal with the problem of how to find an adequate context of interpretation for indexical sentences that enables one to account for the intuitive truth-conditional content which some apparently puzzling indexical sentences like “I am not here now” as well as other such sentences contextually have. In this respect, I will pursue a fictionalist line. This line allows for shifts in interpretation contexts and urges that such shifts are governed by pretense, which has to (...) be understood in terms of socially shared make-believe games. By appealing to pretense so conceived, I will show that the fictionalist perspective is halfway between an intentionalist perspective, according to which the above indexical sentences have to be interpreted in a shifted intended context, (this perspective is primarily defined by Predelli 1998, Analysis 58, 107; Mind and Language 13, 400) and a conventionalist perspective, according to which indexical reference shifts in accordance with a conventional setting. (For this perspective, cf. Corazza et al. 2002, Philosophical Studies 107, See also Corazza 2004, Reflecting the Mind: Indexicality and Quasi-Indexicality, Oxford University Press). Finally, I will claim that the fictionalist analysis of cases of non-ordinary uses of indexicals like “here” and “now” can be retained in face of a new alternative analysis of those cases in terms of an ‘unbound anaphora’ – theory (cf. Corazza 2004, Synthese 138, 145). (shrink)

This paper discusses a class of mechanistic explanations employed in engineering science where the activities and organization of nonstandard entities are cited as core factors responsible for failures. Given the use of mechanistic language by engineers and the manifestly mechanistic structure of these explanations, I consider several interpretations of these explanations within the new mechanical framework. I argue that these interpretations fail to solve several philosophical problems and propose an account of fictional mechanism explanations instead. According to this (...) account, fictional mechanism explanations provide descriptions of fictional mechanisms that enable the tracking of counterfactual dependencies of the physical system they model by capturing system constraints. Engineers use these models to learn about and understand properties of materials, to build computational simulations of their behaviour, and to design new materials. (shrink)

The main aim of this dissertation is to model the different ways in which we use language when we engage with fiction. This main aim subdivides itself into a number of puzzles. We all know that dragons do not exist. Yet, when I read the Harry Potter novels, I do accept the existence of dragons. How do we keep such fictional truths separate from ‘ordinary’ non-fictional truths? What is the difference between Tolkien writing down all sorts of (...) falsities, and a liar who also says all sorts of untrue things? How can it be true that Frodo was born in the Shire while it is also true that he was invented by Tolkien? Given that a fiction such as Pride and Prejudice is not about the actual world, how can I learn things about 19th century etiquette in England by reading this novel? -/- I develop a coherent semantic analysis of these different puzzles: the ‘workspace account’. This theory is an extension of Stalnaker’s famous pragmatic ‘common ground’ framework. In this framework, assertions are modelled as proposals to update the ‘common ground’ (the set of shared assumptions) between conversational interlocutors. (shrink)

David Armstrong in his A Combinatorial Theory of Possibility proposes that non-actual possibilities may be treated as fictions grounded in instantiated universals. In this paper, I first provide some objections to his theory. Then I make the case for Foundational Nominalism, the Armstrong inspired thesis that the whole of ontology supervenes on particulars described much as in the Quinean Nominalism that Armstrong rejected as an ontological ostrich. Finally, I argue that Foundational Nominalism permits a fictional theory of possibilities similar (...) to Brian Skyrms’ Tractarian Nominalism. (shrink)

Fictions feature prominently in several of Hume’s important arguments about the external world. For example, Hume is clear that there would be no belief in the continued existence of objects, were it not for the fictions that are causally responsible for effecting this belief. Interpreters of Hume on the topic of fiction generally argue that the formation of fiction requires the possession of general ideas and the use of language. Drawing upon recent attempts in the literature to advance this (...) claim, I offer reasons for why this general approach is undesirable. By examining Hume’s comments on the capabilities of children, this paper advances a novel approach to the topic of fictions in Hume’s philosophy that separates the matter of fiction formation from the use of language, arguing instead that it is not the use of language that establishes fictions; fictions exert their influence upon the mind before the use of language becomes available to us. (shrink)

This concise volume addresses the question of whether or not language, and its structure in literary discourses, determines individuals' mental 'vision, ' employing an innovative cross-disciplinary approach using readers' drawings of their mental imagery during reading. The book engages in critical dialogue with the perceived wisdom in stylistics rooted in Roger Fowler's seminal work on deixis and point of view to test whether or not this theory can fully account for what readers see in their mind's eye and how (...) they see it. The work draws on findings from a study of English and Dutch across a range of literary texts, in which participants read literary text fragments and were then asked to immediately draw representations of what they had seen envisioned. Building on the work of Fowler and more recent theoretical and empirical language-based studies in the area, Klomberg, Schilhab and Burke argue that models from embodied cognitive science can help account for anomalies in evidence from readers' drawings, indicating new ways forward for interdisciplinary understandings of individual meaning construction in literary textual interfaces. This book will be of interest to students and scholars in stylistics, cognitive psychology, rhetoric, and philosophy, particularly those working in embodied cognition. (shrink)