In recent times, researchers across a variety of disciplines in the humanities and social sciences have been interested in the human ability to process embedded mindstates, also known as 'multiple-order intentionality' (MOI): A believes that B thinks that C intends (etc.). This task is considered increasingly cognitively demanding with every order of embedding added. However, we argue that the way in which the information relevant to the task is represented in language (in particular, using a narrative) greatly influences how well people are able to deal with MOI cognitively. This effect can be illustrated by paraphrasing situations presented by a play such as Shakespeare's Othello: by the end of Act II the audience has to understand that Iago intends that Cassio believes that Desdemona intends that Othello believes that Cassio did not intend to disturb the peace. Formulated this way, using sentence embedding to express the intentional relationships, this is highly opaque. At the same time, we know that Othello has been understood and appreciated by innumerable different audiences for ages. What is it that the play's text does to make the audience understand all these embedded mindstates without undue cognitive strain? In this article we discuss six 'expository strategies' relevant to the representation of MOI and illustrate their working with examples from Shakespeare's Othello.
Several periods in classical (Greco-Roman) antiquity provide an intriguing mix of being ‘in the grip of the past’ and profoundly innovative in all societal domains at the same time. A new research agenda of the Dutch classicists investigates this combination, under the hypothesis that the two are connected. Successful innovations must somehow be ‘anchored’ for the relevant social group(s). This paper explores the new concept of ‘anchoring’, and some of the ways in which ‘the new’ and ‘the old’ are evaluated and used in classical antiquity and our own times. Its examples range from a piece of ancient theatrical equipment to the history of the revolving door, from an ornamental feature of Greek temples to the design of electric cars, and from the Delphic oracle to the role of the American constitution.
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