Horton and Gerrig outlined a memory-based processing model of conversational common ground that provided a description of how speakers could both strategically and automatically gain access to information about others through domain-general memory processes acting over ordinary memory traces. In this article, we revisit this account, reviewing empirical findings that address aspects of this memory-based model. In doing so, we also take the opportunity to clarify what we believe this approach implies about the cognitive psychology of common ground, and just (...) as important, what it does not imply. We also highlight related areas of research demonstrating how general cognitive processes can constrain access to relevant knowledge in ways that shape both language production and comprehension. (shrink)
Empirical analyses have provided some important constraints for computational theories of metaphor. Three such constraints relate to (1) the similar processing time for literal and metaphorical language, (2) the time‐limited processing of many metaphors, and (3) the dissociation of metaphor comprehension and appreciation. Indurkhya's (1986, 1987) model is discussed with respect to these issues.
Juslin & Vll's (J&V's) discussions of evaluative conditioning and episodic memory focus on circumstances in which music becomes associated with arbitrary life events. However, analyses of film music suggest that viewers experience consistent pairings between types of music and types of narrative content. Researchers have demonstrated that the emotional content of film music has a major impact on viewers' emotional experiences of a narrative.
Clark and Fischer (C&F) discuss how people interact with social robots in the context of a general analysis of interaction with characters. I suggest that a consideration of aesthetic illusion would add nuance to this analysis. In addition, I illustrate how people's experiences with other depictions of characters require adjustments to C&F's claims.
In narrative contexts, people often find themselves mentally rooting for “bad guys.” These circumstances lead to questions about how Sunstein's moral heuristics function during narrative experiences. In particular, must people undertake explicit moral analysis for the heuristics to apply?