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Pt. I Theoretical and Philosophical Perspectives Paul Sopcak Sopcak, Paul
1 Studying literature and being empirical: A multifaceted conjunction Uri Margolin Margolin, Uri 7
2 Empirical research into the processing of free indirect discourse and the imperative of ecological validity Geoff Hall Hall, Geoff 21
3 Notes towards a new philology Donald C. Freeman Freeman, Donald C. 35
4 A theory of expressive reading Don Kuiken Kuiken, Don 49
Pt. II Psychology, Foregrounding and Literature Olivia Fialho Fialho, Olivia
5 Textual and extra-textual manipulations in the empirical study of literary response Peter Dixon Dixon, Peter Marisa Bortolussi Bortolussi, Marisa 75
6 Foregrounding and feeling in response to narrative David S. Miall Miall, David S. 89
7 Two levels of foregrounding in literary narratives Yeshayahu Shen Shen, Yeshayahu 103
8 Narrative empathy and inter-group relations Janos Laszlo Laszlo, Janos Ildiko Smogyvari Smogyvari, Ildiko 113
9 Effects of reading on knowledge, social abilities, and selfhood: Theory and empirical studies Raymond Mar Mar, Raymond Maja Djikic Djikic, Maja Keith Oatley Oatley, Keith 127
10 Imagining what could happen: Effects of taking the role of a character on social cognition Jemeljan Hakemulder Hakemulder, Jemeljan 139
Pt. III Computers and the Humanities Vander Viana Viana, Vander
11 An automated text analysis: Willie Van Peer's academic contributions Arthur C. Graesser Graesser, Arthur C. Brent Morgan Morgan, Brent 161
12 Computationally discriminating literary from non-literary texts Max Louwerse Louwerse, Max Nick Benesh Benesh, Nick Bin Zhang Bin, Zhang 175
13 Metaphors and software-assisted cognitivestylistics Michael Kimmel Kimmel, Michael 193
14 Searching for style in Modern American Poetry David L. Hoover Hoover, David L. 211
15 The laws governing the history of poetry Colin Martindale Martindale, Colin 229
16 Consolidating empirical method in data-assisted stylistics: Towards a corpus-attested glossary of literary terms Bill Louw Louw, Bill 243
Pt. IV REDES Project: The new generation Milena Mendes Mendes, Milena
17 Empirial evaluation: Towards an automated index of lexical variety Vander Viana Viana, Vander Natalia Silveira Silveira, Natalia Sonia Zyngier Zyngier, Sonia 271
18 Language allergy: Myth or reality? Mariya Sergeyeva Sergeyeva, Mariya Anna Chesnokova Chesnokova, Anna 283
19 Proper names in the translation of The Lord of the Rings Vladimir Yepishev Yepishev, Vladimir 297
20 Threat and geographical distance: The case of North Korea Jan Prasil Prasil, Jan Maria Dudusova Dudusova, Maria Jan Auracher Auracher, Jan 309
21 The apology of popular fiction: Everyday uses of literature in Poland Maciej Maryl Maryl, Maciej 317
A matter of versifying: Tradition, innovation and the sonnet form in English Walter Nash Nash, Walter 329
About the contributors 343
Index of authors 351
Index of keywords 355
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Grace Payne
reviewed Directions in Empirical Literary Studies: In honor of Willie van Peer on December 17, 2008
Directions in Empirical Literary Studies: In honor of Willie van Peer
I had always been interested in the 1930s in American history, particularly in its cultural manifestations in literature, film, and music. When I saw a favorable review in The New York Review of Books of Morris Dickstein's Dancing in the Dark: A Cultural History of the Great Depression, I resolved to pick it up as soon as I could.
There is an overall impression that the Depression was all I Was a Fugitive from a Chain Gang, but as Dickstein points out, there are numerous forces in play. For example, how is it that the worst economic crisis in our country's history saw the Screwball Comedies from Hollywood, films such as Easy Living, Bringing Up Baby, and The Philadelphia Story. It also saw the great films of John Ford, which ran the gamut from The Grapes of Wrath to Stagecoach.
Then there was the music -- not only Woody Guthrie and "Brother Can You Spare a Dime," but also Porgy and Bess, the music of Duke Ellington, and Aaron Copland.
In the end, I think that Dickstein did a good job with a very large subject. At first, I didn't know where he was going with the arrangement of his chapters (and I still have some misgivings about some of his choices, but not major ones). Then, on the second last page, it all came together for me:Radio, movies, and popular music left few people out, especially with the tremendous advances in rural electrification, one of the New Deal's more far-reaching programs. The high arts, once the preserve of the white, Anglo-Saxon, Protestant majority, began to embrace a crazy quilt of ethnic, religious, and regional populations. As Alfred Kazin wrote in Starting Out in the Thirties, "the banked-up experience of the plebes, of Jews, Irishmen, Negroes, Armenians, Italians, was coming into American books." And not just books, but mass culture as well. The energies of such outsiders, especially blacks and Jews, propelled popular music to the center of the new hybrid culture, while immigrant Jews and their children confected a Hollywood version of the American Dream. Moviegoing then was nothing if not a collective activity, a genuine mass act.That, of course, is it. As a Hungarian-American, I have never felt any particular identification with the Anglo-Saxon roots of American culture. Beginning in the 1930s, however -- just around the time my own parents came to America -- I have felt more like a participant in American culture, rather than a mere observer.
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