Reading is a key skill for university students. The Author Recognition Test (ART) and the Title Recognition Test (TRT) have both been used for decades to measure print exposure which correlates with reading and other linguistic skills. Given the available evidence for interindividual differences in reading skills, this study addresses three open issues. First, to what extent do ART and TRT scores correlate with individual differences regarding students’ study programs? Second, how do these results correlate with the self-reported time spent reading different types of text genres (e.g., fiction, nonfiction) per week? And third, this study compares ART and TRT to one another. We tested students from six study programs in the humanities and (medical) sciences which vary in the amount and kind of reading material required for study success. We found that students perform significantly differently in the ART and the TRT depending on their field of study. Students in a study program focusing on fiction and literature perform best overall. We also replicated the well-known effect of age on ART and TRT scores: older students have better scores. We did not find reliable effects of reading time on test performance, whereas individual creative writing habits did positively predict ART/TRT test results. These results raise a number of important questions regarding the ART/TRT in general and regarding interindividual differences in personal reading and writing habits and the change in reading habits in times of media convergence.
Man'yōshū 万葉集 (MYS; Collection of Ten Thousand Leaves, 759-785)-the first extant collection of waka 和歌, or Japanese court poetry-has been researched by many generations of Japanese literature scholars in and outside Japan.Various experts have approached the collection with different research methodologies and theories.In this article, I present yet another way of looking at Man'yōshū, its poetry, and its reception history as an alternative to current editorial practices in premodern Japanese literary studies.Many modern editions of premodern literary works present allusions to Man'yōshū in the following manner: when indicating relevant honka 本歌 (source poems) and/or sankōka 参考歌 (reference poems), citations usually point to such poem(s) as they appear in the earliest extant complete manuscript of the collection, the Nishi Honganji-bon 西本願寺本, which while dating from the late Kamakura 鎌倉 period (1185-1333) was in fact discovered in 1913, and introduced to the public only in the 1930s.Alternatively, modern editors provide (from sources outside Man'yōshū) those textual references closest, in their opinion, to the language of the annotated poem; even these references, however, are usually listed according to the date of their creation/publication, revealing more concern for chronology than for possible channels of appropriation. 1 Furthermore, likely for practical reasons, modern editions of Japanese classics only rarely provide multiple textual variants of Man'yōshū poems from different manuscripts, and even then only occasionally list the secondary sources containing those texts.Such annotation practices have led to the impression that premodern Japanese poets had access to and used Man'yōshū manuscripts when composing their own Expanding the Web of Intertextuality
Recognizing that a work of art is an adaptation changes the perception of it entirely and makes it possible to perceive it as an adaptation. Adaptations are a very specific kind of art experience in physiological, cultural, and medial respects: the palimpsestuous structure of presence and absence requires modes of processing involving feedback loops of memory and perception, cultural mechanisms involved in the processes of selective perception and medial underpinnings of the presentation of adaptations influencing and defining ways of perceiving them. There is a multitude of approaches to the very under-researched topic of adaptation and perception which is outlined here with a view to inspiring further research.
Rhetorical effects in speech and writing have a great strategic importance in achieving the communicative end of being persuasive: they are key in the exertion of power through language. Persuasion occurs by cognitive-affective stimulation, relying on specific psychosomatic perceptual patterns which are used on all levels of speech reception in cultural and political contexts. This makes rhetorically conspicuous texts efficient as stimulus material for empirical research into neurocognitive modeling of how poetic texts are read. Adaptations as revisitations of prior works share with the rhetorical repertoire of repetition similar cognitive-affective properties, because both function via recognition of sameness or similarity. Recent paradigm shifts in adaptation studies have much enlarged the field of research, so Linda Hutcheon's as yet empirically unsupported insight that adaptation is the norm and not the exception in human imagination finds an unexpectedly large field of application. This shift away from the narrow standard paradigm of novels adapted for the screen to a more fundamental aesthetics of adaptation has also helped establish connections between adaptation studies and the experiment-based methodologies of empirical aesthetics and neuroaesthetics with a view to developing cognitive and affective models of the processes underlying the reception of adaptations.
In their article "Toward an Aesthetics of Adaptation in Empirical Research" Marion Behrens, Christian Kell, and Pascal Nicklas discuss the requirements and potential of empirical research into the reception of adaptations: adaptation is one key strategy in the creation of literature and art in general. The creative process and product of adaptation has its counter-part on the side of reception. Empirical research into the aesthetics of adaptation aims at the experimental elucidation of the physiological background and the establishment of a model describing the perceptual underpinnings of the act of seeing an adaptation as adaptation. This implies evolutionary biological reasoning concerning the memory tasks required for this kind of perception and experimental work showing neuronal, psychological and perceptual specificities contrasting acts of reception of artistic and non-artistic stimuli. A particularly promising arena for model building research lies in poetic language and rhetorical structures of repetition.
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Event Abstract Back to Event Functional Imaging of Cognitive Processes underlying the Perception of Contemporary Visual Art Marion Behrens1*, Pascal Nicklas2 and Christian Kell3 1 Johann Wolfgang Goethe University Frankfurt, Brain Imaging Center and Department of Neurology, Germany 2 Johannes-Gutenberg-University Mainz, Institute of Microanatomy and Neurobiology, University Medical Center, Germany 3 Johann Wolfgang Goethe University Frankfurt, Brain Imaging Center and Department of Neurology, Germany When people are absorbed by visual art, they perform various cognitive processes that may range from evaluation of visual features, judging the object's aesthetic value to considerations regarding the artist's original intention. Studies on perception of paintings are biased given their obvious artistic nature. Thus, a systematic investigation of cognitive processes underlying perception of artwork that depict objects and scenes that the brain knows from every-day-experience was warranted. We collected 3T fMRI data while 58 participants evaluated 60 photographs on how obvious the author's intention, how aesthetic, or how detailed each stimulus was. Stimuli were presented for 90ms each. Data were analyzed using SPM8. Results (at cluster-level p<.05, FDR corr.) confirmed that judging visual detail engaged parietal on top of visual cortices. In contrast, both evaluating aesthetics and the author's intentions activated left more than right middle and inferior frontal, middle temporal and inferior parietal cortices. Visual (V3v, V4) and anterior mesial prefrontal cortices (mPFC) were specifically engaged in judging aesthetics while left lateralized premotor cortices and angular gyrus were more strongly activated by judging intentions. Thus, aesthetic judgments and evaluations of the author's intentions relied on a similar core network that activates during tasks requiring Theory of Mind. This suggests that they share common processes that are related to self-reflection, evaluative and empathic judgments and semantic knowledge retrieval. Aesthetic judgments additionally engaged visual cortices and mPFC indicating an interaction between visual features analyses of contour and color and self-referential decision making. Our results suggest that the aesthetic appreciation of contemporary art is not only driven by evaluations of the visual Gestalt but also by inherent reflections on its purpose, which broadens the definition of aesthetics beyond simple stimulus properties. Keywords: Art, Theory of Mind, Visual Perception, neuroaesthetics, functional MRI Conference: XII International Conference on Cognitive Neuroscience (ICON-XII), Brisbane, Queensland, Australia, 27 Jul - 31 Jul, 2014. Presentation Type: Poster Topic: Sensation and Perception Citation: Behrens M, Nicklas P and Kell C (2015). Functional Imaging of Cognitive Processes underlying the Perception of Contemporary Visual Art. Conference Abstract: XII International Conference on Cognitive Neuroscience (ICON-XII). doi: 10.3389/conf.fnhum.2015.217.00015 Copyright: The abstracts in this collection have not been subject to any Frontiers peer review or checks, and are not endorsed by Frontiers. They are made available through the Frontiers publishing platform as a service to conference organizers and presenters. The copyright in the individual abstracts is owned by the author of each abstract or his/her employer unless otherwise stated. Each abstract, as well as the collection of abstracts, are published under a Creative Commons CC-BY 4.0 (attribution) licence (https://creativecommons.org/licenses/by/4.0/) and may thus be reproduced, translated, adapted and be the subject of derivative works provided the authors and Frontiers are attributed. For Frontiers’ terms and conditions please see https://www.frontiersin.org/legal/terms-and-conditions. Received: 19 Feb 2015; Published Online: 24 Apr 2015. * Correspondence: Mrs. Marion Behrens, Johann Wolfgang Goethe University Frankfurt, Brain Imaging Center and Department of Neurology, Frankfurt am Main, Germany, marion.behrens@kgu.de Login Required This action requires you to be registered with Frontiers and logged in. To register or login click here. Abstract Info Abstract The Authors in Frontiers Marion Behrens Pascal Nicklas Christian Kell Google Marion Behrens Pascal Nicklas Christian Kell Google Scholar Marion Behrens Pascal Nicklas Christian Kell PubMed Marion Behrens Pascal Nicklas Christian Kell Related Article in Frontiers Google Scholar PubMed Abstract Close Back to top Javascript is disabled. Please enable Javascript in your browser settings in order to see all the content on this page.
This chapter looks at the intersections of biologistic and cultural discourses of adaptation. 'Biopolitics of adaptation' is understood here as the ideological and manipulative use of biologistic terminology in cultural contexts that carry political agendas by employing the objectivist, scientific cultural coding of the terminology to camouflage these agendas. The inappropriate conflation of biologistic discourse and cultural critique is shown as participating in a lingering socio-Darwinistic or pseudo-Darwinist notion of adaptation and natural selection when natural and cultural processes are equated. To provide evidence, this chapter looks at two very different examples, the film Adaptation. (2002) and the Jeep advertisement campaign 'Never Adapt' (2011), while discussing terminology and the interdisciplinary intervention by Bortolotti and Hutcheon (2007).
Journal Article Introduction: Adaptation, Transmedia Storytelling and Participatory Culture Get access Eckart Voigts, Eckart Voigts * * Englisches Seminar, TU Braunschweig. E-mail:e.voigts@tu-braunschweig.de Search for other works by this author on: Oxford Academic Google Scholar Pascal Nicklas Pascal Nicklas Search for other works by this author on: Oxford Academic Google Scholar Adaptation, Volume 6, Issue 2, August 2013, Pages 139–142, https://doi.org/10.1093/adaptation/apt012 Published: 22 June 2013
Hamlet by Olivier, Kaurismaki or Shepard and Pride and Prejudice in its many adaptations show the virulence of these texts and the importance of aesthetic recycling for the formation of cultural identity and diversity. Adaptation has always been a standard literary and cultural strategy, and can be regarded as the dominant means of production in the cultural industries today. Focusing on a variety of aspects such as artistic strategies and genre, but also marketing and cultural politics, this volume takes a critical look at ways of adapting and appropriating cultural texts across epochs and cultures in literature, film and the arts.
Hamlet by Olivier, Kaurismaki or Shepard and Pride and Prejudice in its many adaptations show the virulence of these texts and the importance of aesthetic recycling for the formation of cultural identity and diversity. Adaptation has always been a standard literary and cultural strategy, and can be regarded as the dominant means of production in the cultural industries today. Focusing on a variety of aspects such as artistic strategies and genre, but also marketing and cultural politics, this volume takes a critical look at ways of adapting and appropriating cultural texts across epochs and cultures in literature, film and the arts.
