Fiction, whether in the form of storytelling or plays, has a particular attraction for us: we repeatedly return to it and are willing to invest money and time in doing so. Why this is so is an evolutionary enigma that has been surprisingly underexplored. We hypothesize that emotionally arousing drama, in particular, triggers the same neurobiological mechanism (the endorphin system, reflected in increased pain thresholds) that underpins anthropoid primate and human social bonding. We show that, compared to subjects who watch an emotionally neutral film, subjects who watch an emotionally arousing film have increased pain thresholds and an increased sense of group bonding.
This is the first full-scale reference grammar of Classical Greek in English in a century. The first work of its kind to reflect significant advances in linguistics made in recent decades, it provides students, teachers and academics with a comprehensive yet user-friendly treatment. The chapters on phonology and morphology make full use of insights from comparative and historical linguistics to elucidate complex systems of roots, stems and endings. The syntax offers linguistically up-to-date descriptions of such topics as case usage, tense and aspect, voice, subordinate clauses, infinitives and participles. An innovative section on textual coherence treats particles and word order and discusses several sample passages in detail, demonstrating new ways of approaching Greek texts. Throughout the book numerous original examples are provided, all with translations and often with clarifying notes. Clearly laid-out tables, helpful cross-references and full indexes make this essential resource accessible to users of all levels.
We are grateful to the editor of JCT for offering us the opportunity of outlining our views on the need for a new Greek reference grammar, to discuss our methodological principles, and to offer some thoughts on how the book may be useful as a teaching resource.
Marketers, filmmakers, and cinema-goers assume that genre has a large effect on how the audience responds to and engages with a film. However, trait measures such as transportability suggest that, in some cases, individual differences may shape audience engagement more than genre does. To investigate this disparity, we compared viewers’ enjoyment, identification with characters, and story world absorption (including three subscales: Transportation, Attention, and Emotional Engagement) for film clips from two very different genres (an emotional family film vs. an action chase scene) in a within-subjects design. Across two studies—an exploratory study and a preregistered replication—we found that participants’ feelings of being transported into the narrative (a dimension of story world absorption) were more highly correlated across films than other measures were and tended to be less related to genre preference than the other audience response measures were. This pattern of results suggests that feelings of transportation may be more dependent on individual differences, and less sensitive to genre, than other forms of audience response. An exploratory analysis of a short scale measuring trait transportability suggested this measure was not the basis of the individual differences theorized to underlie transportation. Our results further highlight the importance of examining viewer engagement with narrative as a multidimensional, rather than unitary, concept.
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