Subjective Markers of Artistic Presentation

Abstract

The paradigmatics of modern narratology testifies to the manifestation of the methodological phenomenon when each next turn of the “polaroid lens” highlights new possibilities for expanding the scientific discourse, unfolds an ever wider terminological and analytical perspective. Obviously, classical, and then post-classical narratology took the next step after its “revolution” and turned toward cognitive science. Narrative theory productively assimilates the ideas of convergence with cognitive psychology, whose interest is “how people acquire information about the world, how this information is presented by humans, how it is stored in memory and transformed into knowledge, and how this knowledge affects our attention and behavior” (my translation from Russian – L.M.-B.) [Solso 1996]. And if cognitive psychology considers “the entire range of psychological processes – from sensations to perception, image recognition, attention, learning, memory, concept formation, thinking, imagination, memorization, language, emotions, and developmental processes” [Solso 1996] – to be important and valuable, it is quite obvious that the stages of artistic presentation are directly related to each of these elements of the cognitive chain.