Exploration and arrangement in physical and social worlds.

Fiction involves exploring imaginative arrangements of places and characters: elements that can be recognized by readers. In childhood, exploration occurs from a safe home base of a caregiver; fiction enables a comparable basis. Physical elements in fiction are settings. More important are social explorations: transactions with characters that can include transformation. This is illustrated by Alice's Adventures in Wonderland.

Discrete emotions discovered by contactless measurement of facial blood flows.

ABSTRACTExperiential and behavioural aspects of emotions can be measured readily but developing a contactless measure of emotions' physiological aspects has been a major challenge. We hypothesised that different emotion-evoking films can produce distinctive facial blood flow patterns that can serve as physiological signatures of discrete emotions. To test this hypothesis, we created a new Transdermal Optical Imaging system that uses a conventional video camera to capture facial blood flows in a contactless manner. Using this and deep machine learning, we analysed videos of the faces of people as they viewed film clips that elicited joy, sadness, disgust, fear or a neutral state. We found that each of these elicited a distinct blood flow pattern in the facial epidermis, and that Transdermal Optical Imaging is an effective contactless and inexpensive tool to the reveal physiological correlates of discrete emotions.

How poetry evokes emotions.

Poetry evokes emotions. It does so, according to the theory we present, from three sorts of simulation. They each can prompt emotions, which are communications both within the brain and among people. First, models of a poem's semantic contents can evoke emotions as do models that occur in depictions of all kinds, from novels to perceptions. Second, mimetic simulations of prosodic cues, such as meter, rhythm, and rhyme, yield particular emotional states. Third, people's simulations of themselves enable them to know that they are engaged with a poem, and an aesthetic emotion can occur as a result. The three simulations predict certain sorts of emotion, e.g., prosodic cues can evoke basic emotions of happiness, sadness, anger, and anxiety. Empirical evidence corroborates the theory, which we relate to other accounts of poetic emotions.

Art as emotional exploration.

The Roman poet Horace said poetry gives pleasure and instructs. A more informative theory is that poetry and art, in general, are less about pleasure than about exploration of emotions. Literary authors concentrate on negative emotions, seemingly to try and understand them. In two studies, reading literary art enabled the transformation of selfhood, not by being instructed but by people changing in their own ways.

Fiction: Simulation of Social Worlds.

Fiction is the simulation of selves in interaction. People who read it improve their understanding of others. This effect is especially marked with literary fiction, which also enables people to change themselves. These effects are due partly to the process of engagement in stories, which includes making inferences and becoming emotionally involved, and partly to the contents of fiction, which include complex characters and circumstances that we might not encounter in daily life. Fiction can be thought of as a form of consciousness of selves and others that can be passed from an author to a reader or spectator, and can be internalized to augment everyday cognition.

Cognitive approaches to emotions.

Cognitive approaches offer clear links between how emotions are thought about in everyday life and how they are investigated psychologically. Cognitive researchers have focused on how emotions are caused when events or other people affect concerns and on how emotions influence processes such as reasoning, memory, and attention. Three representative cognitive theories of emotion continue to develop productively: the action-readiness theory, the core-affect theory, and the communicative theory. Some principles are common to them and divergences can be resolved by future research. Recent explanations have included how emotions structure social relationships, how they function in psychological illnesses, and how they are central to music and fiction.

The cognitive science of fiction.

Fiction might be dismissed as observations that lack reliability and validity, but this would be a misunderstanding. Works of fiction are simulations that run on minds. They were the first kinds of simulation. All art has a metaphorical quality: a painting can be both pigments on canvas and a person. In literary art, this quality extends to readers who can be both themselves and, by empathetic processes within a simulation, also literary characters. On the basis of this hypothesis, it was found that the more fiction people read the better were their skills of empathy and theory-of-mind; the inference from several studies is that reading fiction improves social skills. In functional magnetic resonance imaging meta-analyses, brain areas concerned with understanding narrative stories were found to overlap with those concerned with theory-of-mind. In an orthogonal effect, reading artistic literature was found to enable people to change their personality by small increments, not by a writer's persuasion, but in their own way. This effect was due to artistic merit of a text, irrespective of whether it was fiction or non-fiction. An empirically based conception of literary art might be carefully constructed verbal material that enables self-directed personal change. WIREs Cogn Sci 2012, 3:425-430. doi: 10.1002/wcs.1185 For further resources related to this article, please visit the WIREs website.

Cognition and Emotion over twenty-five years.

In the 25 years since its foundation, Cognition and Emotion has become a leading psychological journal of research on emotion. Here we review some of the ways in which this has occurred. Questions have included how parallel systems of cognition and emotion can operate in emotion regulation and psychological therapies (including the issue of free will), how the cognitive approach to emotion works, how emotion affects attention, memory, and decision making, and how emotion research is moving beyond the individual mind into the space of the interpersonal.

Emotion and narrative fiction: Interactive influences before, during, and after reading.

Emotions are central to the experience of literary narrative fiction. Affect and mood can influence what book people choose, based partly on whether their goal is to change or maintain their current emotional state. Once having chosen a book, the narrative itself acts to evoke and transform emotions, both directly through the events and characters depicted and through the cueing of emotionally valenced memories. Once evoked by the story, these emotions can in turn influence a person's experience of the narrative. Lastly, emotions experienced during reading may have consequences after closing the covers of a book. This article reviews the current state of empirical research for each of these stages, providing a snapshot of what is known about the interaction between emotions and literary narrative fiction. With this, we can begin to sketch the outlines of what remains to be discovered.

The Function of Fiction is the Abstraction and Simulation of Social Experience.

Fiction literature has largely been ignored by psychology researchers because its only function seems to be entertainment, with no connection to empirical validity. We argue that literary narratives have a more important purpose. They offer models or simulations of the social world via abstraction, simplification, and compression. Narrative fiction also creates a deep and immersive simulative experience of social interactions for readers. This simulation facilitates the communication and understanding of social information and makes it more compelling, achieving a form of learning through experience. Engaging in the simulative experiences of fiction literature can facilitate the understanding of others who are different from ourselves and can augment our capacity for empathy and social inference.

Impact of life events and difficulties on the mental health of Chinese immigrant women.

This study examined the life events and difficulties inherent to the immigration process and the sources of social support that influenced mental health. A six-month longitudinal study, utilizing a detailed semi-structured interview protocol and standardized questionnaires, was conducted with a group of Chinese women who had migrated to Canada with their spouses in the last decade. All of the women and all of their spouses experienced major downward mobility. Correspondingly, the most frequent negative life event was employment-related and the most frequent difficulty was the financial strain of living below the poverty line, factors which significantly predicted the women's mental health. Social support had neither a main effect on mental health nor a buffer effect on the relationship between life events and difficulties and mental health. Implications for immigration and settlement policy are discussed.

Interpretative memories of artworks.

It is well known that memories of self-relevant experiences are reconstructed over time. Artworks often require an elongated period of interpretative meaning-making. Such works were therefore used to study temporal aspects of memory construction. In a longitudinal study, individuals' memories of artworks were examined to explore the idea that only with the passage of time would autobiographical memory and emotion be associated with thematic integration of the artwork memory. We also expected that integrated artwork memories would be more differentiated (in terms of number of details) than memories that were not integrated. Memories of artworks were collected from visitors to an art gallery in person as they left the gallery, and 5 months later in a phone interview. Participants were also asked, at both interviews, whether the memory recollection was associated with an autobiographical memory and with an emotion. Associations among the elements of autobiographical memory, emotion, differentiation, and integrated artwork memories were significant only at the time of the longer-term recollection. The data suggest that, during an incubation period, these elements moved from a state of disconnection to interconnection.