narratology

So, you may ask, what is the use of studying the world of imagination where anything is possible and anything can be assumed, where there are no rights or wrongs and all arguments are equally good? One of the most obvious uses, I think, is its encouragement of tolerance. In the imagination our own beliefs are also only possibilities, but we can also see the possibilities in the beliefs of others. Bigots and fanatics seldom have any use for the arts, because they're so preoccupied with their beliefs and actions that they can't see them as also possibilities. It's possible to go to the other extreme, to be a dilettante so bemused by possibilities that one has no convictions or power to act at all. But such people are much less common than bigots, and in our world much less dangerous.

Narratives are universally used for mediating emotional experiences. The purpose of aesthetic objects has been defined, in part, as 'the awakening, intensifying, or maintaining of definite emotional states' (Lee, 1913: 99_100). When we read or hear stories, we put aside our own goals and plans, and we temporarily replace our own goals and plans with those of the story characters.

...empathy is the driving force behind the experience of emotions in narratives (Keen, 2006; Mar et al., 2006; Oatley, 2011).

Literature keeps presenting the most vicious things to us an entertainment, but what it appeals to is not any pleasure of these things, but the exhilaration of standing apart from them and being able to see them for what they are because they aren't really happening. The more exposed we are to this, the less likely we are to find an unthinking pleasure in cruel or evil things. As the eighteenth century said in a fine mouth-filling phrase, literature refines our sensibilities.

Maslow's five values are the values for which people live when they have nothing to live for. Nothing has seized them, nothing has caught them, nothing has driven them spiritually mad and made them worth talking to.

Literature takes us away from our grey everyday experience, but brings us back enriched with new sensibilities.

_ it would even be inexact to say that I thought of those who read it as readers of my book. Because they were not, as I saw it, my readers. More exactly they were readers of themselves, my book being a sort of magnifying glass _ by which I could give them the means to read within themselves.

There are three points about stories: if told, they like to be heard; if heard, they like to be taken in; and if taken in, they like to be told.

You can't love someone without imaginative sympathy, without beginning to see the world from another point of view. You can't be a good lover, a good artist or a good politician without this capacity (you can get away with it, but that's not what I mean). Show me the tyrants who have been great lovers.