Prototype approximation: It's in the eye of the beholder

Prog Brain Res. 2013;205:319-37. doi: 10.1016/B978-0-444-63273-9.00016-2.

Literary aesthetics: beauty, the brain, and Mrs. Dalloway.

Hogan PC.

Source

Department of English and Program in Cognitive Science, University of Connecticut, Storrs, CT, USA. Electronic address: patrick.hogan@uconn.edu.

Abstract

Empirical research indicates that beauty is in part a matter of prototype approximation. Some research suggests that unanticipated pattern recognition is important as well. This essay begins by briefly outlining an account of beauty based on these factors. It goes on to consider complications. Minor complications include the partial incompatibility of these accounts and the importance of differentiating judgments of beauty from aesthetic response. More serious issues include the relative neglect of literature in neurologically-based discussions of beauty, which tend to focus on music or visual art. There is also a relative neglect of emotion, beyond the reward system. Finally, there is the almost complete absence of the sublime. After considering these problems broadly, the essay turns to Virginia Woolf's Mrs. Dalloway, examining its treatment of beauty and sublimity. The aim of this section is not merely to illuminate Woolf's novel by reference to neuroscientific research. It is equally, perhaps more fully, to expand our neuroscientifically grounded account of aesthetic response by drawing on Woolf's novel. In Mrs. Dalloway, there are gestures toward prototypes and patterns in beauty. But the key features are clearly emotional. Specifically, the emotions at issue in feelings of beauty and sublimity appear to be primarily attachment, on the one hand, and a profound sense of isolation, on the other. Woolf's novel also points us toward other features of aesthetic experience, crucially including the emotion-sharing that is a key function of the production and circulation of art.