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A Look behind Us Seventy-five years ago, a scholar seeking a starting point on narrative and the emotions, the joint subject of this two-part special issue, might have consulted colleagues in psychology and literature departments for a reading list. Quite likely the scholar would have been reminded by those colleagues of the canonical works representing several decades' worth of fruitful collaboration between their disciplines: literary theorist I. A. Richards's Principles of Literary Criticism (1926a) and psychologist John Dewey's Art as Experience (2005 [1934]). Not yet discouraged by the prohibitions of W. K. Wimsatt and Monroe Beardsley's Sewanee Review essay, "The Affective Fallacy," which disparaged work on the elicitation of emotion as "affective relativism" (1954 [1946]: 27); not yet converted to the emergent New Critical canon, which put narrative (especially those lengthy engines of sentimental response, novels) in the shade; not yet fully adopting modern theories of form in preference to older Romantic theories of the imagination (Dissanayake 1992: 142-47); not yet interpellated as either a scientist or a literary intellectual, incapable of communicating across the divide severing the "Two Cultures" (Snow 1956, 1959): our scholar would have every reason to believe that a science of the emotions, including the study of physiological responses, could contribute to an understanding of aesthetic experience. The notion that analysis of the feelings provoked and invited

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