Social Minds in Persuasion

Palmer, Alan Warwick

doi:10.1515/9783110232424.3.157

Cited by 14 publications

(24 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The emotions and animated entity in question can be featured implicitly or explicitly in the text . Three criteria must be present for this definition to be fulfilled: firstly, an animated entity (implicit or explicit) must be present, meaning human characters, implied authors, narrators or speakers (Eckardt, 2015: 167–168; Hühn, 2005: 152; Palmer, 2004: 16–17; Prince, 1987: 42–43), or anthropomorphised animals, which can be accounted by this criterion as long as they show signs of emotion (for instance, anthropomorphised rabbits in Adams’s Watership Down ). Secondly, surroundings must be present and described richly enough for readers to perceive where the scene takes place (i.e.…”

Section: A Stylistic Model Of Pfmentioning

confidence: 99%

“…I define emotion as a ‘response to an event, either internal or external, that has a positively or negatively valenced meaning for the individual’ (Salovey and Mayer, 1990: 186) including mood, dispositions, preferences, personality traits, physical feelings, emotional states and affects, lasting any length of time. Emotions can be featured ‘explicitly’ or ‘implicitly’ (Palmer, 2004: 115): explicit emotions are those that are clearly expressed and do not need to be inferred; and implicit emotions are those that are not directly expressed and must be inferred through language.…”

Section: A Stylistic Model Of Pfmentioning

confidence: 99%

See 1 more Smart Citation

Linking Emotions to Surroundings: A Stylistic Model of Pathetic Fallacy

Pager-McClymont

2022

Language and Literature: International Journal of Stylistics

View full text Add to dashboard Cite

This article aims to provide a stylistically founded model of pathetic fallacy (PF hereafter). Pathetic fallacy is a Romantic literary technique used in art and literature to convey emotions through natural elements. This technique has been researched mostly from a literary viewpoint, but no linguistic model exists to define it. It is difficult to identify it precisely or consensually because definitions and uses vary, and it is often associated with other techniques (i.e. personification). Despite those inconsistencies, PF is likely to be taught as part of the Department for Education subject content in the English National Curriculum for students studying English Literature at GCSE and A Level. I thus conducted a survey of English teachers to collect data on PF, and based on their answers and suggested texts, created an updated stylistic model of PF using a combination of (cognitive) stylistic frameworks. The model defines PF as a projection of emotions from an animated entity onto the surroundings. I identify three ‘linguistic indicators’ of PF in my corpus: imagery, repetition and negation. I draw on metaphor research to further analyse the metaphorical nature of PF and its effects in texts from my corpus. Four effects of PF are identified: communicating implicit emotions, building ambience, building characters and plot foreshadowing.

show abstract

Section: A Stylistic Model Of Pfmentioning

confidence: 99%

Section: A Stylistic Model Of Pfmentioning

confidence: 99%

Linking Emotions to Surroundings: A Stylistic Model of Pathetic Fallacy

Pager-McClymont

2022

Language and Literature: International Journal of Stylistics

View full text Add to dashboard Cite

show abstract

“…However, instead of taking a narrative approach like Pizzi and Cavazza it explores the cognitive route to modelling affect. The decision to do so rests on the work of narratologist Alan Palmer (2004), who describes fictional minds in terms of 'real minds' theory of mind. Both approaches are alike in that they attempt to move away from an action/planonly notion of plot.…”

Section: Related Workmentioning

confidence: 99%

Towards a Computational Measure of Plot Tellability

Berov

2021

AIIDE

View full text Add to dashboard Cite

Measuring the quality of plot is a desirable feature for computational narrative systems.One of the notions of plot quality used in narrative theory is called tellability, which can be derived from certain structural properties, namely the types of events present and the way they are connected.These structures include not only actualized events, but also take into account virtual plans and the affective valencies of events.The present paper introduces Marie-Laure Ryan's tellability principles and suggests to computationally model them using an affective multi-agent simulation system.It discusses how such an approach implies a broader understanding of plot than commonly assumed and analysis several existing narrative systems under these considerations.Furthermore, it introduces a plot-graph formalism that allows the computational representation and analysis of the extended plot understanding.An approach to automatically generating the plot-graph is suggested in the context of the introduced multi-agent simulation system.

show abstract

“…Rather, they produce the background in which Mister No can decide his own actions, moved essentially by his own personality. Mister No's "mind in action" (PALMER, 2004) is responsible for the development of the story. His consciousness is not only moved by the sense of "justice" that forces him to take the side of the oppressed.…”

Section: Mister No's Sertãomentioning

confidence: 99%

“…In this direction, the mind of the characters, as expressed in their discourses and actions, should be observed as the self-expression of the author, however in a dialogue with the self of the characters (PALMER, 2004). The perspective from which images and dialogues are presented is inextricably intermingled with the specific subject whom the story follows.…”

Section: Introductionmentioning

confidence: 99%

The Sertão of Mister No: How to Take Seriously a Comics’ Character

Bollettin

2021

Ver. Rev. Inter. Hum.

View full text Add to dashboard Cite

Os desenhos de quadrinhos são uma forma excepcional de apresentar o imaginário sobre lugares e povos diferentes. Vários estudos já discutiram estes desenhos enquanto diálogos entre os sujeitos narradores e narrados. Esse texto analisa um desenho italiano, Mister No. Especificadamente vai descrever os acontecimentos que envolvem essa personagens enquanto está no sertão brasileiro. O objetivo do texto é de discutir como esse desenho de quadrinho reflete tanto o imaginário do autor sobre o lugar quanto a emergência de uma subjetividade especifica do protagonista.

show abstract

Social Minds in Persuasion

Cited by 14 publications

References 0 publications

Linking Emotions to Surroundings: A Stylistic Model of Pathetic Fallacy

Linking Emotions to Surroundings: A Stylistic Model of Pathetic Fallacy

Towards a Computational Measure of Plot Tellability

The Sertão of Mister No: How to Take Seriously a Comics’ Character

Contact Info

Product

Resources

About