The role of visual imagery in story reading: Evidence from aphantasia.

Aphantasia is a condition in which people are unable to experience visual imagery. Since visual imagery is thought to be key to language processing, we hypothesized the experience of a story would differ between individuals with aphantasia and controls. Forty-seven individuals with aphantasia were compared to fifty-one matched controls on their experience of reading a short story and their general reading habits. Aphantasics were less likely to be engaged with, interested in, and absorbed in the story, and experienced reduced emotional engagement with and sympathy for the story characters, compared to controls. Yet, aphantasics and controls did not differ in how much they liked or appreciated the story, and in general, the reading habits of the two groups also did not differ. Results have implications for embodied theories of language, suggesting visual imagery may influence how a story is experienced, but it is not the only route to story enjoyment.

Different kinds of simulation during literary reading: Insights from a combined fMRI and eye-tracking study.

Mental simulation is an important aspect of narrative reading. In a previous study, we found that gaze durations are differentially impacted by different kinds of mental simulation. Motor simulation, perceptual simulation, and mentalizing as elicited by literary short stories influenced eye movements in distinguishable ways (Mak & Willems, 2019). In the current study, we investigated the existence of a common neural locus for these different kinds of simulation. We additionally investigated whether individual differences during reading, as indexed by the eye movements, are reflected in domain-specific activations in the brain. We found a variety of brain areas activated by simulation-eliciting content, both modality-specific brain areas and a general simulation area. Individual variation in percent signal change in activated areas was related to measures of story appreciation as well as personal characteristics (i.e., transportability, perspective taking). Taken together, these findings suggest that mental simulation is supported by both domain-specific processes grounded in previous experiences, and by the neural mechanisms that underlie higher-order language processing (e.g., situation model building, event indexing, integration).

Different routes to liking: how readers arrive at narrative evaluations.

When two people read the same story, they might both end up liking it very much. However, this does not necessarily mean that their reasons for liking it were identical. We therefore ask what factors contribute to "liking" a story, and-most importantly-how people vary in this respect. We found that readers like stories because they find them interesting, amusing, suspenseful and/or beautiful. However, the degree to which these components of appreciation were related to how much readers liked stories differed between individuals. Interestingly, the individual slopes of the relationships between many of the components and liking were (positively or negatively) correlated. This indicated, for instance, that individuals displaying a relatively strong relationship between interest and liking, generally display a relatively weak relationship between sadness and liking. The individual differences in the strengths of the relationships between the components and liking were not related to individual differences in expertize, a characteristic strongly associated with aesthetic appreciation of visual art. Our work illustrates that it is important to take into consideration the fact that individuals differ in how they arrive at their evaluation of literary stories, and that it is possible to quantify these differences in empirical experiments. Our work suggests that future research should be careful about "overfitting" theories of aesthetic appreciation to an "idealized reader," but rather take into consideration variations across individuals in the reason for liking a particular story.

Aesthetic appraisals of literary style and emotional intensity in narrative engagement are neurally dissociable.

Humans are deeply affected by stories, yet it is unclear how. In this study, we explored two aspects of aesthetic experiences during narrative engagement - literariness and narrative fluctuations in appraised emotional intensity. Independent ratings of literariness and emotional intensity of two literary stories were used to predict blood-oxygen-level-dependent signal changes in 52 listeners from an existing fMRI dataset. Literariness was associated with increased activation in brain areas linked to semantic integration (left angular gyrus, supramarginal gyrus, and precuneus), and decreased activation in bilateral middle temporal cortices, associated with semantic representations and word memory. Emotional intensity correlated with decreased activation in a bilateral frontoparietal network that is often associated with controlled attention. Our results confirm a neural dissociation in processing literary form and emotional content in stories and generate new questions about the function of and interaction between attention, social cognition, and semantic systems during literary engagement and aesthetic experiences.

Word skipping as an indicator of individual reading style during literary reading.

Decades of research have established that the content of language (e.g. lexical characteristics of words) predicts eye movements during reading. Here we investigate whether there exist individual differences in 'stable' eye movement patterns during narrative reading. We computed Euclidean distances from correlations between gaze durations time courses (word level) across 102 participants who each read three literary narratives in Dutch. The resulting distance matrices were compared between narratives using a Mantel test. The results show that correlations between the scaling matrices of different narratives are relatively weak (r ≤ .11) when missing data points are ignored. However, when including these data points as zero durations (i.e. skipped words), we found significant correlations between stories (r > .51). Word skipping was significantly positively associated with print exposure but not with self-rated attention and story-world absorption, suggesting that more experienced readers are more likely to skip words, and do so in a comparable fashion. We interpret this finding as suggesting that word skipping might be a stable individual eye movement pattern.