215

Abbott, H. Porter, 202Abhijñānaśākuntalam (Kālidāsa), xii, 35–6action trajectories, xiii, 13, 14, 77, 191activation, 18–19, See also character activationAffective Narratology (Hogan), xiiagents, 13Alexandre le Grand (Racine)

antagonizer, reconciler, and rival doubling in, 84

canon continuity with, 84–5, 86–7, 89–90, 92, 94–5, 97–8, 99

description of, 84–7, 193narrative idiolect in, 84parametric shifts in, 84, 85–7

alignment, 50, 52–3, 54, 59, 72, 189alteration principles

characters affected by, 36defined, 33for discourse, 33–4example impact of, 33motifs as part of, 34–5prototype affected by, 33, 34–5, 76summary of, 45, 110types of, 34, 35

ambiguity Brecht’s work displaying, 120–1, 122–3, 124,

196, 197Shakespeare’s work evincing, 54–5, 60, 62–7,

69–71, 142, 148–50, 151–2, 153, 154–6, 189, 190, 191

ambivalence, 54in character simulation, 41, 87, 193emotion containing, 40–1, 42in Racine’s work, 87, 90, 91, 95–6, 97, 98, 102,

107, 193

in Shakespeare’s plays, 56, 58, 59–61, 63–4, 67, 72, 73, 189, 190, 191

Andromaque (Racine), 104ambivalence in, 98canon continuity with, 88, 89–90, 91, 92, 94,

95–6, 98, 100, 102, 106, 107character ambivalence in, 87, 193character emotion shifts in, 88, 105, 193contradictory properties and relations in, 91description of, 87–9, 193female protagonist growth in, 193motivation treatment in, 91–2narrative idiolect in, 87, 89, 91narrative trajectory in, 98–9parametric shifts in, 87, 90, 91–2, 194reconciliation after war in, 87

argument, 181, See also specific topicsauthorial continuities in, 115cross-cultural patterns and motifs for, 115,

122narrative compared to, 113, 171, 201particularization and, xviii, 116, 117, 118, 127simulation of, xviii–xix, 111–12, 196

argumentative simulation in Brecht’s work, 116–21, 123–4, 125, 126for critics, 126exploratory simulation in relation to, 123–4implemental simulation compared to,

111–12, 135–6of narration, 165narrative particularization with, 112summary of, 135–6

artifice in Calvino’s work, 172–3, 174–5, 177–8concealed, 166, 175, 176, 181

Index

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of emplotment, 166, 175espionage and, 176in Faulkner’s work, 168–70, 175flaunted, 172–3, 174, 175, 179narrative, 168–70, 172, 175of story, xx

As I Lay Dying (Faulkner), 4, 5–6associative connection, 17, 20attachment, 76, 78–9, 83, 85, 86, 88, 89–90, 91,

97, 100, 101–2, 108audience, 165–6, See also emplotment, of

HamletAusten, Jane, xv, 17, 21, 23, 24–5, 46, 186,

See also Emmaauthor, See also emplotment, of Hamlet;

literary creation; literary simulation; narrative particularization; parallel distributed processing; particularization

argument and modeling continuities for, 115character autonomy for, 4, 185exempla uses by, 39implied, 164individuality, 46internal consistency in, 46introspection failure and testimonial

relevancy, xx–xxiliterary simulation component involving,

i, 27memory individuality of, xvinarrative artifice and, 166narrative cognitive theory ignoring

particularity of, xi–xiinarrative idiolect of, i, xvi, 75, 76–7, 83narremes distinctive of work of, 47patterns organizing principles, motifs, and

prototypes of, 51–2, 75prototypes in mind of, 27reader addressed by, 172receptive evaluation for, 41, 43, 188repetition, 75rule-based approach for activities of, xvsimulation by reader and, 5–6, 20trajectory of change for, 75verbal art impact points for, 41

authorial idiolect. See narrative idiolect

Bajazet (Racine), 80, 106ambivalence in, 97, 98canon continuity of, 96–8, 99, 100, 101, 103,

105description of, 96–9, 194

female protagonist growth in, 98–9gender shift in, 110as heroic story, 96moral complexity of, 98narrative trajectory in, 98–9parametric shifting in, 97, 98–9protagonist rivals in, 96usurpation in, 96

Baker, Mark, 77Bareis, J. Alexander, 199Bargh, John, xxiBarthes, Roland, xviii, 81–2Baumeister, R., 111beauty, 142–3, 200Bérénice (Racine), 80, 99

canon continuity of, 94–6description of, 94–5, 194parametric shifts in, 94–5rival protagonists in, 94

biblical model, 18–20, 186Blanc, André, 192, 193, 194Bonheim, Helmut, 47, 48–9Bonini’s paradox, 15Bordwell, David, 199Bowers, Fredson, 199Brecht, Bertolt, xviii–xix, 115, See also specific

worksambiguity in plays of, 120–1, 122–3, 124, 196,

197argumentative and exploratory simulation

of, 116–21, 123–4, 126emotion and empathy for, 118, 119, 120–1,

124–5, 196, 197exploratory simulation in work of, 123–4, 126narrative specification of, 126political function of work of, 115, 116–17, 118,

119–22, 196, 197theater for, 117, 123, 125–6

Breen, Margaret, 129–30Britannicus (Racine), 106

antagonizer in, 92–3canon continuity of, 92, 93, 96–7, 99description of, 92–4, 194motif in, 94narrative trajectory in, 93parametric shifts in, 93–4rival protagonists in, 92usurpation in, 93

Calvino, Italo, xx, 170, 181, See also specific works

artifice in work of, 172–3, 174–5, 177–8, 179

artifice (cont.)

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narration flaunted by, 179–80narrative idiolect of, 173, 202

canon. See specific topicscausal explanation, 40–1character, See also specific topics

alteration principles affecting, 36ambivalence in simulation of, 41, 87, 193attention given to, 37, 187autonomy of, 4, 185cross-cultural genre types of, 32–3evaluation dependent upon, 44exempla for, 39, 40functions, 35, 36in-group and out-group, 37–8, 187literary simulation of, xvi, 10, 35–8mimic, 38narrative particularization driven by, 14, 39narrative specification through, 44narrator as, 170–1orthodox, 38prototypes, 27, 35, 36, 75, 79, 187, 192Racine and development of, 108reactionary traditionalist, 38specification principles for, 36–41story involving goals of, 29storytelling parameters and, 78summary of, 45syncretist, 38temporal alteration in, 34traits, 35–6typological categorization and divisions in,

37–9character activation, 21–2, 23, 24, 186character simulation, xvi

ambivalence in, 41, 87, 193anomalous plausibility in, 39–40emotional response in, 44examples, 22, 24, 39–40by reader, 39–40

Chatman, Seymour, 199Coetzee, J. M., 43cognitive approach, xvii, 14–15, 46, 49, 188cognitive architecture, xv, 3, 77cognitive model (or metaphor), xixcognitive operation, 16–17cognitive structure, 46The Comedy of Errors (Shakespeare), 75compassion, 8–9, 10, See also empathyconstrual, 138–9, 141, 152, 155–6continuities, See narrative idiolect; patterns;

specific topicsCorneille, Pierre, 193, 195

counterfactual thinking, xiii, 183criminal investigation prototype, 32, 121–2critics

argumentative simulation for, 126cognitive approach and Shakespeare

analysis of, 49cross-cultural patterns and Shakespeare

analysis of, 49on emplotment of Hamlet, 199on Kafka’s work, 198–9Racine canon continuity for, 80–2, 192on Shakespeare’s patterns, 47–9, 188, 190,

191, 201cross-cultural genre, See also individual topics

major and minor, 44–5in The Measures Taken, 124motivation systems at play in, 29–30prototypes, xi, xiii, xix, 29–33, 75, 130, 184recurring events, character types, and scenes

from, 32–3storytelling and, xvi, 7summary of, 44–5

cross-cultural patterns and motifs argument and modeling containing, 115, 122critics’ Shakespeare analysis missing, 49espionage within, 175–6in-group/out-group inclusion/exclusion

in, 52Shakespeare’s use of, 50–1usurpation as, 48

Dans le Labyrinthe (Robbe-Grillet), 177Decety, Jean, 7deictic shift theory, 1–3, 184descriptive alignment, 50Desnain, Véronique, 192, 193development principles, 181, See also alteration

principles; descriptive alignment; familialization; specification principles

in heroic tragicomedy, 52–3in literary simulation, 27–9narrative idiolect through, 108–9neural networks providing, 78Shakespeare’s use of, 50–2, 55, 67, 69, 71specification, 33

diachronic study, 79Die Maßnahme (Brecht). See The Measures

TakenDie Verwandlung (Kafka). See The

Metamorphosisdirect induction, 12–13discourse, xix, 33–4, 138, 142, 161, 200, 201

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dissociation, 7–8divine preference, 55–6, 57–8, 62–3, 66, 67–8,

69, 71, 72, 189drama, xx, 139, 199, See also theater

Edelman, Gerard, 185Eisenstein, Sergei, 197ellipsis, 34Emma (Austen), 26

character activation in, 21–2, 23, 24character simulation in, 22, 24description of, 21–3mind simulation of others in, 20–5narrative prototype in, 23neural network in, 22–3, 24–5priming in, 24reader simulation manipulation in, 24–5theory of mind capacities explored in, xv, 17,

21, 23, 186emotion, See also empathy; plot, interest;

specific topicsaesthetic, 142–3ambivalence in personal, 40–1, 42artifact, 142heroic structure containing, 30in modeling, 114simulation operating through, 4–5, 8, 10story, 142, 200

emotional goals, 45emotional impact, 43

in emplotment of Hamlet, 139, 142, 143, 145, 146, 154, 155, 156, 157, 159, 200–1

in literature, 142–3for receptive evaluation, 41, 42

emotional memories, 12, 43, 185emotional orientation, 46emotional profile, 5emotional response

in character simulation, 44in evaluation principles, 43–4literary creation reliance on, 43–4to Racine’s plays, 104–5, 106simulation, 6–7, 8, 9, 10, 185summary of, 45

empathy, 189Brecht view of emotion and, 118, 119, 120–1,

124–5, 196, 197simulation relation to, 36–7

emplotment artifice of, 166, 175defined, 138in drama, xx, 99

information withheld as device of, 149, 166, 200, 202

intensified parallelism in, 140, 199particularization and plot through, xix–xxselection, organization, and construal

within, 138–9tragicomic, 124, 157, 158

emplotment, of Hamlet audience and author models used in, 140–1,

147, 149, 154, 155–7, 158–9construal in, 141, 152, 155–6critics on, 199emotional impact in, 139, 142, 143, 145, 146,

154, 155, 156, 157, 159, 200–1espionage and play-acting in, 149–50, 151,

152–3, 155, 200ghost’s appearance in, 143–4, 148, 149, 155,

159inconsequential characters and scenes in,

143, 149, 157, 158narration and, 142, 146–7, 148–9, 153–4, 155,

158–9, 166, 200narrational disjunction in, 144–5, 154narration/story time conflated in, 145–6, 150,

154, 156, 200narrative sequences in, 151parallelism used in, 140, 148, 152, 153, 158political discussion in, 144, 145selection model guiding, 140–1, 155–6soliloquy purposes, 147story and, 143, 149–50story genres contained in, 141–2, 147, 148,

149, 150–2, 154, 156, 158–9story sequence in, 143–4strategic plan in, 147–8summary of, 159–60timing in, 145–6, 150, 153, 154, 156tragicomic, 157, 158trajectory interruption as, 139–40, 144

entrenchment, 76epilogue of suffering, 54, 63, 72, 89episodic memory, 11–13, 14, 17–18espionage, 149–50, 151, 152–3, 155, 175–7, 200Esslin, Martin, 123, 197ethics. See morality and ethicsevaluation, 28, 44, See also receptive evaluationevaluation principles, 104, 109, 181

defined, 41emotional memories in, 43emotional response within, 43–4exempla over general categories in, 43in literary simulation, 28–9, 41–4, 187

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as narrative idiolect component, 76neural networks providing, 78summary of, 45for Waiting for the Barbarians, 43

evolutionary development, 6–7, 185exempla, 109

author uses for, 39for characters, 39, 40defined, 27, 192evaluation principles employing, 43in literary simulation, 27, 29as narrative idiolect component, 76specification principles relationship to, 76

“Exercise-Book” (Tagore), xi–xviexplanation, xvexploratory simulation, 123–4, 125, 126, 135–6,

165

familial separation prototype, xiii, 31, 100, 187familialization, 38–9, 50, 55fantasy, 9, 10, 25Faude-Koivisto, Tanya, 111Faulkner, William, xx, 4, 5–6, 17, 20, 46, 166,

181, See also specific worksartifice employed by, 175implied reader in work of, 169–70interior monologue in work of, xvmultiple narrators employed by, 167–70narrative artifice in work of, 168–70narrative particularization by, 17–19, 169–70

Felperin, Howard, 191Ferguson, Margaret, 191, 201Fergusson, Francis, 48fiction, 1–3, 178–9, 184Fiedler, Leslie, 191Foakes, R. A., 190Fodor, Jerry, 183–4Forestier, Georges, 193Frijda, Nico, 200Frye, Northrop, 47

Gaut, Berys, 189general simulation, 12Genette, Gérard, 1genre. See cross-cultural genre; universal

narrative genres; specific topicsgoal pursuit or achievement, 11, 14, 186goal-oriented planning, 111Gogol, Nikolai, 185Goldblum, Naomi, 196Goldmann, Lucien, 81Gollwitzer, Peter, 111

Gora (Tagore), 38Greenblatt, Stephen, 189, 190Greve, Anniken, 198

Hamlet (Shakespeare), xiv, 175, See also emplotment, of Hamlet

ambiguity in, 64–7, 142, 148–50, 151–2, 153, 154–6, 157–9, 190, 191

ambivalence in, 67, 190, 191character simulation in, 39–40description of, 64–8divine preference in, 67–8emplotment in, xx, 139–59as heroic play, 47–8, 141, 142, 146, 149–55, 157in-group/out-group blurring in, 68principles and motifs used in, 51restoration in, 65–6as revenge play, 141, 142, 147, 149–55as romantic play, 141, 142, 148, 151, 153, 154as seduction play, 141, 142, 150, 151, 156threat/defense sequence in, 68, 146usurpation in, 64, 65–7, 154

Hawkes, Terence, 190Henry V (Shakespeare), 62, 67, 74

cross-cultural patterns and motifs in, 50description of, 56–7as deviation from author’s norm, 58divine preference in, 57–8, 189as heroic play, 47nationalism and ambivalence in, 56–7, 58The Tempest compared to, 69and threat/defense sequence, 56

Herman, David, 202heroic prototype, See also ambiguity;

ambivalence; heroic tragicomedy; in-group/out-group; specific topics

alignment in, 52–3emotion at play in, 30nationalism typical of, 53, 54, 56, 61, 189nature of, 30, 141political function of, 52–3, 54Racine and, 82, 96, 102Shakespeare and, xvi–xvii, 47–8, 52–5,

56–73, 74, 141, 146standard version of, 30story construction in, 52–3summary of, 74threat/defense sequence in, 52, 54, 56, 58–9,

62, 64–5, 68, 146usurpation component of, 48, 52–3

heroic tragicomedy, 47, 52–3, 69, 72–3Heyndels, Ingrid, 80–1

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historicism, xviiHolland, Norman, 198Honigmann, E. A. J., 49, 199Horn, Peter, 196Hubert, Daniel, 192

Il Sentiero dei Nidi di Ragno (Calvino), 202imagination. See simulationimplemental simulation, 111–12, 135–6implementation, 111–12individual works, xii, 183inference, 36–7, 39–40in-group/out-group, 56

character specification and, 37–8, 187heroic narrative inclusion/exclusion of,

52–3, 54Shakespeare’s blurring of, 55, 59–61, 68, 73

intensified parallelism. See parallelismintertranslatability, xiv–xv, 183–4introspection, xx–xxiIphigénie (Racine)

ambivalence in, 102canon continuity of, 102, 103–4, 107description of, 102–5, 195emotional response and, 104–5motifs in, 103–4narrative idiolect on display in, 103narrative trajectory in, 104story genre combination in, 102, 104, 195

Jahn, Manfred, 199Jeffries, Lesley, 2Johnson-Laird, P. N., 197Joyce, James, xviii, 39, 40Julius Caesar (Shakespeare), 48, 58–61, 189, 190

Kafka, Franz, xix, 115, 129–32, 133–4, 198–9Kālidāsa, xiiKastan, David, 190Khan, M. H., 189King John (Shakespeare), 49, 50, 51King Lear (Shakespeare), 34, 48, 50, 51, 55–6,

69–70

La Jalousie (Robbe-Grillet), 34La Thébaïd (Racine), 79, 80, 91Lakoff, George, 127–8, 197language recursion, 174Le Città Invisibili (Calvino), 171–2Leadbeater, Lewis, 198Lenin, V. I., 196Les Plaideurs (Racine), 192

Levin, Richard, 201Lewis, David, 1–2Light in August (Faulkner), xx

description of, 166–7implied reader in, 169–70multiple narrators in, 167–70multiple simulations in, 170narrative artifice in, 168–70seduction prototype in, 167

linguistic principles and parameters theory, 77literal categorization, 127, 129literary analysts. See criticsliterary creation

emotional profiles created in, 5emotional response critical to, 43–4evaluation in, 28prototypes in, xvreceptive evaluation of author in, xv–xvirule complexes governing, xv–xviin sequence, 79

literary narrative, xi, 14, 112–13literary particularization. See narrative

particularizationliterary simulation

author creating through, i, 27character, xvi, 10, 35–8components and component interaction

in, 27–9development principles for, 27–9evaluation principles for, 28–9, 41–4, 187example of, 28–9exempla in, 27, 29guided, 10modeling for, 135narrational, xx, 161–74, 181, 201of narrative voice, xxnature of, 8previously existing story structures in, 27prototypes in, 27, 28–9, 187real world simulation compared to, 3–5, 8, 9,

25–6, 36, 187literature

cognitive architecture approach to life and, 3emotional impact in, 142–3repetitive compared to nonrepetitive, 75simulation in life and, 3–5simulation understood through, xiii–xv

Macbeth (Shakespeare), 48, 50, 51, 63Machiavelli, Niccolo, 191Mannering, A., 185Marxism. See socialist activism

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Masicampo, E., 111material conditions, 14Mauron, Charles, 81, 82McAlindon, Tom, 47, 48McIntyre, Dan, 2The Measures Taken (Brecht)

argument and particularization in, xixargumentative and exploratory simulation

in, 116–21, 123–4, 125, 126argumentative structure of, 115complications in, 119–20, 124–5contrary tendencies displayed in, 126cross-cultural genre in, 124description of, 116–17, 118, 120empathy and emotion treatment in, 118, 119,

120–1, 124–5, 196judgment in, 121–3, 125, 196, 197narrative structure of, 116, 125political function in, 115, 116–17, 118, 119–22,

196, 197story genre types used in, xix, 121–2, 124, 125,

126, 197summary of, 136teaching purposes of, 115–16theater in, 115–16, 117, 125–6

memory, xii, xvi, 11–13, 14, 17–18, 43, 185–6, See also episodic memory; semantic memory

The Metamorphosis (Kafka) cognitive model in, xixdescription of, 130, 131–3, 134explicit insect model in, 129–30, 131–2, 198implicit illness model in, 130–1, 198infancy model in, 133metaphor in, 115, 131–2psychoanalytic model for, 197–8real life/dream model in, 134repugnancy and shame in, 130, 134, 198sacrificial plots of, 130, 132–3, 134, 198

metaphor, 114, 115, 127–8, 131–2, 196, 197, See also cognitive model (or metaphor); modeling

metaprinciples, 78, 90, 91, 98Miles, Geoff, 190mimetic/diegetic distinction, 199The Mind and Its Stories (Hogan), xiimind simulation, of others, 20–5, 26, 36, 165–6,

See also theory of mindmirroring, 25, 187Mithridate (Racine), 80, 107

canon continuity of, 99, 100, 101, 103, 105description of, 99–102, 194

female protagonist growth in, 101gender shifts in, 101, 195narrative idiolect evinced by, 99, 100, 101–2narrative trajectory illustrated in, 101–2parametric shifts in, 99, 100usurpation in, 100–1

modeling, xix, 181, See also selection modelauthorial continuities in, 115complexity of, 127–9contradiction in, 129cross-cultural patterns and motifs for, 115direct induction compared to, 12–13emotional and thematic purposes to, 114–15emplotment of Hamlet through, 140–1, 147,

149, 154, 155–7examples of, xviii, 129–32, 133–4literal categorization compared to, 127, 129literary simulation through, 135metaphor and, 114, 196, 197in narration, 165, 202reader addressed through, 172simulation through, xviii, 113, 127, 128–9,

196, 197summary of, 136types, xviiiuses for, 113, 114, 127–8, 133–4, 135, 196verbal art relying on, 113

morality and ethics, 54–5, 60, 62–7, 69–71, 98, See also ambiguity; ambivalence

motif. See also cross-cultural patterns and motifs

alteration principles involving, 34–5false report, 86, 192prototypes and, 29, 33, 187in Racine’s work, 94, 97, 103–4, 106Shakespeare’s use of, 50–2, 64, 74

motivation system, 10, 29–30, 40Motoyama, Kate, 197The Mousetrap (Hamlet), 66, 190My Reminiscences (Tagore), xi, xii

narratee, 165, 171–2narration

argumentative and exploratory simulation of, 165

Calvino flaunting, 179–80cognitive architecture relationship to, 77discourse containing, xix, 138, 142, 161, 200,

201emplotment of Hamlet and, 142, 146–7,

148–9, 153–4, 155, 158–9, 166, 200example of, xix

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flaunted, 179–80models in, 165, 202second person, 171simulation, 164–5, 201story compared to simulation of, xx, 162,

164, 201time, 145–6

narrational disjunction, 144–5, 154narrative

affect in, 142argument compared to, 113, 171, 201artifice, 168–70, 172, 175author and artifice of, 166cognitive theory of, xi–xii, xivdisruptions and reversals, 178imagination, i literary analysts, xiitrajectory, 79–80, 81, 92, 93, 98–9, 101–2, 104,

105, 107–8, 109–10voice, xix–xx

narrative idiolect, 49author, i, xvi, 75, 76–7, 83of Calvino, 173, 202canon for treating, 79components of, 75–6, 193composition and operation of, 79consistency of, 46development principles for, 108–9diachronic study of, 79entrenchment in, 76neural network influence on, 79, 109, 196parameters evolving in, xvii, 77, 109–10, 192,

195–6principles clustered as model of, 109–10of Racine, 78, 79, 81, 83–4, 87, 89, 91, 99, 100,

101–2, 106–8, 194–5Shakespeare’s, xvi–xvii, 50–6, 68–9, 75, 154,

159–60, 199storytelling principles and parameters for

developing, 75–7summary of, 73–4, 108–9Tagore’s, 76variation and fixed, 77, 79

narrative particularization, 26characters driving, 14, 39in Faulkner’s work, 17–19, 169–70implemental and argumentative simulation

in, 112of Racine, xviiirule-based approach to, 16–17story simulation relation to, 181

narrative specification, 39, 44, 114, 126narrator

as character, 170–1in drama, 139, 199in Light in August, 167–70multiple, 165–6, 167–70nonpersonified, 199reliability, 165, 169, 170–1simulation of, 164–5

narreme, 47, 48–9nationalism. See heroic prototype; political

function; specific topicsnetwork, 16–17, 20–1neural network, 26, 46

advantages of, 15Bonini’s paradox arising from, 15complexity of, 15, 16development and evaluation principles

from, 78in Emma, 22–3, 24–5narrative idiolect influenced by, 79, 109, 196nature of, 15PDP and simulations of, 17primed versus inhibited, 22prototypes from, 78of reader, 24–5rule-based approach distinguished from,

xv, 15–16in storytelling parameter setting, 78theories, xiv

normalcy, 178–9

Oatley, Keith, xiii, 2, 184Obama, Barack, 1The Odyssey (Homer), xviiiOn Racine (Barthes), xviiiorganization, 138Ortony, Andrew, 197, 200–1out-group. See in-group/out-group

parallel distributed processing (PDP), 17–18, 20, 21, 26, 186, 196

parallelism, 140, 148, 152, 153, 158, 199parameters, See also storytelling, principles

and parameters ofdefined, 191narrative idiolect shift of, xvii, 77, 109–10,

192, 195–6Racine’s shifting, 79–80, 84, 85–7, 90, 91–2,

93–4, 97, 98–9, 100, 106, 194setting of, 78, 79–80, 109Tagore’s work and shifting, xvii

narration (cont.)

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variation of, 80particularization, See also narrative

particularization; specific topicsargument or reasoning and, xviii, 116, 117,

118, 127emplotment for, xix–xxof experience, 185narrative cognitive theory ignoring author,

xi–xiiof narrative prototype, xvinarrative voice for, xix–xxpatterns, nature of, xx–xxiof plot, 103, 138, 140, 159–60simulation as central to, xiii, 43

patterns, 47–50, 51–2, 75, 81–2, 191, See also cross-cultural patterns and motifs; narrative idiolect

Pavel, Thomas, 80PDP. See parallel distributed processingpeople. See real peoplePhèdre (Racine), 79

ambivalence in, 107canon continuity of, 105, 107, 192character development in, 108description of, 195emotional response in, 106female protagonist growth in, 105, 106narrative idiolect in, 106–7narrative trajectory on display in, 105, 107–8parametric shifts in, 106 rival protagonists in, 105story genres on display in, 107usurpation in, 105–6

plot, See also emplotment; emplotment, of Hamlet; heroic prototype; sacrificial prototype

construction, 52–3, 143discourse containing, xix, 138, 142, 161,

200, 201emplotment as formation of, xix–xxinterest, 142, 143nature of, xixparticularization, 103prototypes, 30–2revenge, 32, 107, 141, 147, 149romantic, 31, 83, 86, 96, 100, 102, 107, 141–2,

148, 150–1seduction, 31–2, 142, 148, 150–1, 156

plural formation, xivpolitical function, See also socialist activism

in Brecht’s work, 115, 116–17, 118, 119–22, 196, 197

in Shakespeare’s work, 53–4, 61, 69, 189Porter, Carolyn, 167possible world’s ontology, 1–2postmodern self-consciousness, 178–9Poulet, Georges, 192primed, xii, xiii, 22priming, 18, 23–4principles, See also alteration principles;

development principles; evaluation principles; linguistic principles and parameters theory; metaprinciples; specification principles; storytelling, principles and parameters of

metaprinciples governing, 78narrative idiolect and clusters of, 109–10storytelling functioning of, 78–9

prototypes, See also heroic prototype; sacrificial prototype

action trajectories defined by, 14alteration principles influencing, 33,

34–5, 76author’s mind containing, 27character and character functions through,

27, 35, 36, 75, 79, 187, 192cognitive approach treatment of, 46, 188combination of, 34–5criminal investigation, 32, 121–2cross-cultural, xi, xiii, xix, 29–33, 75, 130, 184defined, 27in Emma, 23familial separation, xiii, 31, 100, 187goal achievement obstacles from, 14, 186for guided simulation, 10, 11–12as idiolectal, 27individual works relation to, xii, 183in literary creation, xvin literary simulation, 27, 28–9, 187material conditions impact on, 14motifs and, 29, 33, 187narration/story simulation organized by,

162, 201neural networks providing, 78particularization of, xvirevenge plot, 32, 107, 141, 147, 149romantic plot, 31, 83, 86, 96, 100, 102, 107,

141–2, 148, 150–1seduction, 31–2, 142, 148, 150–1, 156Shakespeare’s use of, 50, 51, 64storytelling parameters and, 78summary of, 44–5variants, 14

Proust, Marcel, 188

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Index224

Racine, Jean, See also specific playsambivalence treatment by, 87, 90, 91, 95–6,

97, 98, 102, 107, 193antagonizer in work of, 83, 84, 92–3attachment and attachment figures for, 85,

86, 88, 89–90, 91, 97, 100, 101–2, 108canon continuity of, xviii, 79, 80–2, 84–5,

86–7, 88, 89–90, 91, 92, 93, 94–8, 99, 100, 101, 102, 103–4, 105, 106, 107, 192

character development for, 108critics on canon continuity of, 80–2, 192emotional response to work of, 104–5, 106entrenchment and plasticity of, 79false report in plays of, 86, 99–100, 106, 195female protagonist growth for, 90–1, 98–9,

101, 105, 106, 192, 193gender shifts in plays of, 101, 103, 110, 195metaprinciple of, 78, 90, 91, 98motifs in plays of, 94, 97, 103–4, 106narrative idiolect of, 78, 79, 81, 83–4, 87, 89,

91, 99, 100, 101–2, 103, 106–8, 194–5narrative particularization of, xviiinarrative trajectory illustrated by, 79–80, 81,

92, 93, 98–9, 101–2, 104, 105, 107–8, 110parametric axes in work of, 80parametric shifting in work of, 79–80,

84, 85–7, 90, 91–2, 93–4, 97, 98–9, 100, 106, 194

patterns in plays of, 81–2protagonist rivals and doubling for, 78, 83,

84, 88, 92, 95, 96, 105reconciler figures for, 83, 84secular tragedies of, xvii–xviiistory genres employed by, 82–3, 86, 96, 100,

102, 107, 193, 194–5tension sources in work of, 95usurpation in plays of, 82, 84, 93, 96, 100–1,

104, 105–6worldview in works of, 81

reader, See also parallel distributed processingauthor addressing, 172author receptive to response of, 41character simulation by, 39–40Emma and simulation manipulation of,

24–5generalized, 172–3, 176hidden intention for, 179implied, 165, 169–70modeling for addressing, 172neural network of, 24–5priming and spontaneous simulation

by, 23–4

real, 171, 172, 202simulation by author and, 5–6, 20

real people, 44real world

literary compared to simulation in, 9, 25–6, 36, 187

real people defining conception of, 44receptive intent in, 41simulation, 7–8, 76–7, 179simulation compared to, 7, 25, 178, 201

reasoning, xviiireceptive evaluation, xv–xvi, 41–2, 43, 188receptive intent, 41recursion, 174reliability, 5, 165, 169, 170–1revenge plot prototype, 32, 107, 141, 147, 149reward activation, 8–9, 10Richard II (Shakespeare)

ambiguity in, 62–4ambivalence in, 61, 63–4, 190description of, 62–3, 190divine preference in, 62–3threat/defense sequence in, 62usurpation in, 62

Richard III (Shakespeare), 50, 64Richardson, Brian, 199, 200, 202Robbe-Grillet, Alain, 34, 177, 202romantic prototype

example of, 83, 86, 96, 100, 102, 107, 148, 150–1

nature of, 31, 141–2Romeo and Juliet (Shakespeare), xii, 35–6, 84Rosen, Bill, 189rule-based approach, xv, 15–17, 26Russell, Bertrand, 197Ryan, Kiernan, 190, 191

sacrificial plot prototype character function in, 35character types contained in, 33example of, 83, 88, 102, 104, 107, 130nature of, 30–1tragicomedy within, 124

salience, 23, 186schemers, 140, 157, 199Se una Notte d’Inverno un Viaggiatore

(Calvino), xx, 170artifice employed in, 172–3, 174–5,

177–8, 179book within book of, 173, 174, 177espionage genre within, 175–6generalized reader addressed in, 172–3

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narration flaunted in, 179–80narrator as character in, 171normalcy presented in, 178–9thematic concerns of, 172–3, 177–9, 202

seduction prototype, 31–2, 142, 148, 150–1, 156

selection, 138selection model, 140–1semantic memory, 11, 12–13, 14sequence, 79Shakespeare, William, 46, 172,

See also emplotment, of Hamletalignment used by, 54, 59, 72, 189ambiguity in work of, 54–5, 60, 62–7, 69–72,

142, 148–50, 151–2, 153, 154–6, 157–9, 189, 190, 191

ambivalence in plays of, 56–7, 58, 59–61, 63–4, 67, 72, 73, 189, 190, 191

character simulation by, 39–40critics on patterns of, 47–9, 188, 190,

191, 201cross-cultural patterns used by, 50–1development principles and motifs used by,

50–2, 55, 64, 67, 69, 71, 74divine preference in work of, 55–6, 57–8,

62–3, 66, 67–8, 69, 71, 72, 189group inconsistency in work of, 55heroic prototype use of, xvi–xvii, 47–8, 52–5,

56–73, 141, 146historicism and, xviiin-group/out-group blurring in work of, 55,

59–61, 68, 73narrative idiolect of, xvi–xvii, 50–6, 61,

68–9, 75, 154, 159–60, 199narremes in work of, 47nationalism in plays of, 61, 189patterns in canon of, 47–50, 191political function in work of, 53–4, 61, 69,

189prototypes drawn upon by, 50, 51, 64restoration theme in work of, 65–6, 70–1threat/defense sequence in plays of, 54, 56,

58–9, 62, 64–5, 68tragedies of, 48universal narrative genres and, 47–8usurpation in work of, 54, 56, 58, 62, 64,

65–7, 69–73, 154violence in plays of, 190, 191war in work of, 54, 56–9

Shawber, A., 185Siemon, James, 190simulated object, xvi

simulation, See also artifice; character simulation; emotional response; general simulation; literary simulation

accuracy of, 7action trajectories as topic of, xiii, 13, 77, 191as adaptive, 6–7, 9–10agents as topic of, 13of argument or reasoning, xviii–xix, 111–12,

196associative and rule-based accounts of,

xiv–xvauthor and reader, 5–6, 20causal explanation discrepancy with, 40–1cognitive approach through, 14–15cognitive models guiding, xixcomplexity of, 127counterfactual, xiii, 183defined, xiii, 25dissociation as form of, 7–8emotional operation in, 4–5, 8, 10emotional profile created from, 5empathy relation to, 36–7episodic memory for, 11–13evaluation in, 28evolutionary advantage created by, 6–7, 185example of, 4, 5–6, 10, 161–4external, 135–6fantasy compared to, 9, 10, 25fiction as form of, 2, 184general and particular levels of, 12guided, 9, 10, 11–12as imagination, 185implemental, 111–12, 135–6inference relation to, 36, 39–40internal, 135in life and literature, 3–5literary simulation compared to real world,

9, 25–6, 36, 187literature for understanding, xiii–xvmaterial conditions as topic of, 13modeling, xviii, 113, 127, 128–9, 196, 197motivation system for, 10multiple, 170of narration, 164–5, 201nature of, 6, 9–10, 111, 161, 184–5painful experience, 8–9particularization reliance on, xiii, 43people for understanding events in, 36real world, 7–8, 76–7, 179real world experience compared to, 7, 25,

178, 201simulation of, 164

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spontaneous, 23–4, 25summary of, 25–6thematic concerns driven by, 113theory of mind and, 13, 186in verbal art, 5, 8

Smith, Murray, 59socialist activism, 117, 119–20, 122–3, 196,

See also Brecht, BertoltThe Sound and the Fury (Faulkner), 26

associative connection in, 17, 20biblical model in, 18–20, 186description of, 17, 19interior monologue in, xvnarrative disjunction in, 145narrative particularization of, 17–19PDP account of, 17–18, 186priming and activation in, 18–19

specification principles for characters, 36–41defined, 33, 187event types, character functions, and scene

division within, 35–6exempla relationship to, 76inference and simulation within, 36–7in-group/out-group character, 37narrative, 39, 44, 114, 126as narrative idiolect component, 76summary of, 45

speech, xxiSpencer, Theodore, 47Sternberg, Robert, 200Stevens, Jennifer, 7story

artifice of, xxcharacter goals in, 29defined, xixdiscourse distinguished from, xix, 138, 200emotion, 142, 200emplotment of Hamlet and, 143, 149–50narrational compared to simulation of, xx,

162, 164, 201narrative particularization related to

simulation of, 181story within, 162time, 145–6

story world, 1storytelling, xvi, 7, 34storytelling, principles and parameters of

linguistics principles and parameters theory for, 77

metaprinciples governing, 78narrative idiolect developed through,

75–7parameter setting in, 78principles functioning within, 78–9

Stowe, Harriet Beecher, xxi, 112, 114systematic alteration, xiii, xvi

Tagore, Rabindranath attachment separation in work of, 76“Exercise-Book” and personal history of, xi,

xii, xiii“Exercise-Book” as typical of, xii, xvinarrative idiolect of, 76parameter shift in work of, xviiself-expression practice for, xi, xiisystematic alteration in work of, xiii, xvitypological categorization in work of, 38

Tan, Ed, 142, 185Taylor, M., 185The Tempest (Shakespeare), 68

ambiguity in, 69–72ambivalence in, 72, 73, 191description of, 69–72divine preference in, 69, 72Henry V compared to, 69as heroic tragicomedy, 47, 69, 72–3in-group/out-group blurring in, 73political function in, 69restoration theme in, 70–1, 73usurpation in, 69–73temporal alteration, 34text world theory, 2theater, 115–16, 117, 123, 125–7canon continuity with, 84–5, 86–7, 88,

89–90, 103–4, 105, 192description of, 82–4, 192–3genres included in, 82narrative idiolect in, 83–4narrative trajectory starting with, 105shame and pride in, 84story genres in, 82–3usurpation in, 82thematic concern in literary narratives, 112–13modeling for, 114–15nature of, 42, 112receptive evaluation employing, 41–2of Se una Notte d’Inverno un Viaggiatore,

172–3, 177–9simulation driving, 113

simulation (cont.)

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theory of mind defined, xiv, 13Emma exploring capacities of, xv, 17, 21,

23, 186for narrative imagination, i opposing views of, 13other people understood through, 13, 36PDP and, 21simulation, 13, 21–2simulation and, 13, 186task conflict and, 13, 186

time, conflated, 145–6, 150, 154, 156, 200timing, 138, 145–6, 150, 153, 154, 156Titus Andronicus (Shakespeare), 69–70Tobin, Ronald, 80, 193, 194tragicomedy, 47, 52–3, 69, 72–3, 124, 157, 158trajectory interruption, 139–40, 144typological categorization, 37–9

Ulysses (Joyce), xviii, 1–2, 39, 40Uncle Tom’s Cabin (Stowe), xxi, 114

united front tactics, 119–20, 196universal narrative genres, 29–33, 47–8usurpation

as heroic story component, 48, 52–3in Racine’s plays, 82, 84, 93, 96, 100–1, 104,

105–6in Shakespeare’s heroic plays, 54, 56, 58, 62,

64, 65–7, 69–73, 154

verbal art, 5, 8, 41, 113

Waiting for the Barbarians (Coetzee), 43war, 54, 56–9Watson, Robert, 190Watts, Cedric, 190Witt, Mary Ann, 198Woolf, Virginia, xiWuerz, Daniela, 111

Zunshine, Lisa, xv, 186Zwaan, Rolf A., 7

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