Branje literarne fikcije

Kognitivna literarna veda druge generacije nam ponuja teoretična orodja, s katerimi lahko v ospredje razmišljanja o branju literarne fikcije postavimo branje samo. Branja namreč ne pojmujemo več kot prevajanje pisnih znakov v abstraktne pomene, ampak kot tehnologijo, ki a) se je moramo ljudje naučiti skozi sistematično urejen učni proces in b) jo tvori množica med seboj prepletenih miselnih, čustvenih, motoričnih in drugih kognitivnih procesov, umeščenih v konkretno bralno situacijo. Številčnost, raznolikost in nesinhronost telesnih, miselnih, čustvenih, spominskih, motoričnih in drugih procesov, vključenih v branje, pomeni posebno odprtost branja. Slednja se izkaže predvsem v literarnem branju, osvobojenem spon vsakdanje stvarnosti in avtobiografskega spomina. Izkaže se, da je mogoče izpisati nekaj temeljnih spoznanj o naravi literarnega branja in njenem družbenem pomenu.Second-generation cognitive literary studies provides theoretical tools through which reading itself can be placed at the forefront of reflections on reading literary fiction. Namely, reading is no longer conceived as a translation of written symbols into abstract meanings, but as a technology that a) people must learn through a systematic learning process, and b) is comprised of a multitude of interconnected thought, emotional, motor, and other cognitive processes placed in a concrete reading situation. The large number, diversity, and non-synchronicity of physical, thought, emotional, memory, motor, and other processes included in reading imply a special openness of reading, which primarily comes to the fore in literary reading freed from the shackles of everyday reality and autobiographic memory. It turns out that several core findings can be established about the nature of literary reading and its social significance