This description of VAI, however apt, is not very elaborate.
But what is it like, in terms of embodiment, to consciously experience VAI? The basic felt quality of all VAI is that the linguistic medium of a written narrative enters the reader’s awareness qua spoken discourse. Spontaneous literary interpretation stands for any process of meaning-making, however inarticulate, that reaches the reader’s consciousness in an uninterrupted course of reading.Īlthough the necessity of phonological access for the silent processing of print is disputed, the experimental contexts in which VAI has proven to depend on lower-order embodied processes, and/or to have a pronounced effect on silent reading, are countless. e., that discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making, i. More generally, the aim is to isolate a new set of embodied experiences which, along with more widely researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of VAI, based on convergent evidence from the experimental cognitive sciences, psycholinguistic theory, and introspection. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists.
It is generally acknowledged that verbal auditory imagery, the reader’s sense of hearing the words on a page, matters in the silent reading of poetry.
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