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• W2520703918 abstract "Reviewed by: The Experientiality of Narrative: An Enactivist Approach by Marco Caracciolo Marie-Laure Ryan (bio) Marco Caracciolo. The Experientiality of Narrative: An Enactivist Approach. Berlin: Walter De Gruyter, 2014. coll. Narratologia. 231pp. $154, hardcover. When Monika Fludernik proposed to redefine the essence of narrative, traditionally associated with plot, as what she called “experientiality,” that is, “the quasi-mimetic evocation of ‘real-life experience’” (12), she inspired a wave of cognitive approaches that submerged the plot-centered formalism of early narratology. But “experientiality” is not limited to the life experience of characters; it can also describe the reader’s (spectator’s, player’s) relation to the narrative text. It is this second level that forms the main concern of Marco Caracciolo’s impressive first book, The Experientiality of Narrative: An Enactivist Approach, though the life experience of characters is not neglected, because sharing this experience, or mentally simulating it, forms an important aspect of the reader’s narrative experience. Before I dive into the arguments of the book, let me say a few words about enactivism, the cognitive school to which Caracciolo pledges allegiance. Enactivism, as he presents it, is a reaction to “cognitivism,” a movement within first-generation cognitive science that conceived the mind on the model of a computer program as a process of symbol manipulation. The second generation (initiated by Francisco Varela, Eleanor Rosch, and Evan Thompson’s 1991 book The Embodied Mind, and represented among others by Shaun Gallagher, Dan Zahavi, Alva Noë, and Daniel Hutto) insisted on the contrary on the embodied nature of the mind, and on the dynamic relations between the mind and its environment. Inspired by the phenomenological project of Husserl, Heidegger, and especially Merleau-Ponty, the enactivist school describes the mind through four “E’s”: embodied, embedded, enactive, engaged (6). A tenet of enactivism that plays a major role in Caracciolo’s approach to narrative is its rejection of the idea that experience consists of representations inscribed within the mind: “the enactivists urge that experience is not a matter of representation, but rather an interaction with the world guided by the values that permeate the subject’s experiential background” (9). This notion of experiential background is central to Caracciolo’s argument, and I will return to it later, but first, let us note the paradox of relying on a theory that insists on the nonrepresentational nature of experience in order to capture our experience of narrative, a form of communication widely conceived as the representations of characters, setting, [End Page 377] and events. Yet even if experience is not itself a representation, it can still be a response to a world-representation, such as a story or a graphic image, just as it can be a response to a direct engagement with the world, or to a nonrepresentational artwork such as a musical composition or an abstract painting. But the enactivist rejection of experience as representation carries disturbing consequences for Caracciolo’s project, because it implies that experientiality cannot be represented, neither on the level of characters’ response to the world nor on the level of the reader’s response to the text. If narrative is really about experience, not about plot, it is therefore about something ineffable, and it triggers ineffable responses. (Note a certain redundancy in the attempt to define experience: if its substance is what David Herman [144] describes as “qualia,” the philosophical term for the “what it is like” or “felt quality” of experiencing something, then experience itself boils down to being about the felt quality of experience.) Why is this “felt quality” or “what it is like” impossible to represent? Caracciolo addresses this problem in Chapter 1. His conception of representation is much narrower than that of most readers or literary critics, who have no problem speaking about how a given narrative represents this or that type of experience. For Caracciolo, representation is the association of concrete objects and events situated in space and time with a narrowly defined propositional content. Narrative can easily represent what happened to whom; but the subjective experience of the characters who participate in these events cannot be fully captured by language. In support of Caracciolo’s argument, think of the..." @default.
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• W2520703918 title "The Experientiality of Narrative: An Enactivist Approach by Marco Caracciolo" @default.
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