FEATURED MIND: SOWON PARK
Last winter, she presented her ongoing research on cognitive neuroscience and literature to our department. Her talk, “Memory and the New Unconscious”, identified metaphors of the unconscious mind and discussed the contributions that literature, psychoanalysis, and cognitive neuroscience might make when brought together.
Her most recent publication is ‘Transnational Scriptworlds’ in a special issue of The Journal of World Literature 1:2 (Brill, June 2016), The Chinese Scriptworld and World Literature, that she guest-edited. In her essay, Sowon examines the relations between writing and thought by comparing the ideographic “scriptworld” afforded by Chinese characters (China, Korea, Japan and Vietnam) with the alphabetic world.
What are you currently working on in your research or teaching that relates to the mind?
I have been researching representations of mind in the works of Woolf, Eliot, Joyce, and Beckett for a book called Modernism and the Mind. It discusses modernist ‘stream of consciousness’ literature of the early twentieth century in the light of recent cognitive neuroscientific findings in the areas of emotion, memory, perception and cognition. Teaching-wise, there was no room within the Oxford syllabus to teach courses in cognitive literary criticism at the undergraduate level. So I am delighted to be starting a course in ‘Mind, Brain and Literature’ in the winter term at UCSB.
How did you become interested in this field?
I specialized in Modernism in Graduate School partly because I became entranced by the specific kinds of experiences that are afforded by different kinds of writing. For example, certain passages written in free indirect discourse and ‘stream of consciousness’ technique can press the world of the character up against you closer and closer till for a moment you start feeling like that character. I was curious to understand such processes better. Cognitive neuroscientific evidence has helped me gain a better understanding of what happens during reading.
Sowon Park and UCSB students on a research trip to the Concrete Poetry archive at the Getty Research Institute in Los Angeles
What unique contributions to mind studies are literary scholars (or scholars of the arts, or of the humanities in general) positioned to make to mind studies?
Some people question whether literary scholars can engage in a meaningful way with neurobiologists and researchers in artificial intelligence. And rightly so. Complex problems arise when trying to work across the divide of the “two cultures” and they tend to be exceedingly difficult to resolve. But before the remarkable expansion of the science of mind in the late twentieth century, the field that produced the most sustained forms of thinking about the mind was literature. Literature provides a historical archive of human thinking of every kind, which sometimes challenges and sometimes enriches scientific knowledge. Ultimately, answers to the really big questions about the mind are more likely to come from a broad framework which includes the cross-cultural and historical perspectives that the literary archive provides, as well as the cognitive neurosciences.
How do you see your interests in literature and the mind intersecting with other fields of study in the humanities (such as environmental scholarship, gender and sexuality, race and ethnicity…)?
Another area in which I specialize is feminist theory and literature, and that intersects with mind studies in a very direct way. Admittedly, talking about the ‘female mind’ is very controversial. For several decades exploring sex differences was taboo for fear of entrenching gender essentialism and sex discrimination. There are still many who believe that for women to claim equality, gender neutrality must be observed. Of course, deconstructing gender essentialism is highly important. But I think ignoring sex differences is a disservice to women because it so often leads to an epic disregard for women’s specific realities, leaving unchallenged a masculine norm that parades as neutral. Gender is socially constructed but the constructions are not laid upon a tabula rasa. That is emphatically not to say that there is such a thing as a ‘female brain’ which is fixed. But attending to and gaining an accurate awareness of gender-specific biological predispositions is important too. Neurofeminism is necessary.
Where do you see this field heading? What’s unanswered (or just beginning to be answered) that you are curious about?
One of the most exciting areas in mind studies at the moment, for me, is the unconscious mind. While interrogations of the unconscious are far from new, cognitive neuroscience during the last thirty years has reclaimed the unconscious as the new scientific frontier. For the last two years I have run a neuroliterary seminar series on “Unconscious Memory” (http://torch.ox.ac.uk/unconscious). And I am keen to re-start it at UCSB as soon as I find my feet.
What does literature do for minds?
This is a very difficult question. Wittgenstein famously said in his Philosophical Investigations that if a lion could speak we would not understand it. What he means by that is that the human mind, however lofty and rational, is never detached from our constrained sensory apparatus and is shaped by our material way of life. Literature is quite obviously a distinctively human mode of interaction, produced by minds for other minds. But that can make literature sound reified and instrumental. Another way of approaching literature is to see it as the place where our embodied social existence reveals itself. Literature shows us who we are, what we are capable of, what we hope for, what we fear. If literature can be said to do anything for minds, it is not as reified objects but as a human practice, whose meaning is grounded in our senses and situated in history.
SELECTIONS FROM SOWON’S WORK:
Below you will find two excerpts from Sowon’s already-published work that illustrate her ongoing research interests. You can also find her exploration of the field in “The Dilemma of Cognitive Literary Criticism,” a chapter from English Studies: The state of the Discipline, Past, Present, and Future (2015): 67-81. (Please email litandmind@gmail.com if you would like a PDF of this chapter.)
From ‘Beside Thinking’, The Canadian Review of Comparative Literature (April 2014): 5-12.
(This is a special issue of the journal guest-edited by Sowon.)
“The most advanced teachings of the Buddha are said to have been conducted in silence. In the Zen world, this mode of communication is known as the ‘heart-to-heart transmission’ (以心傳心), a form of meditative practice that requires the banishment of all words from the mind. By abjuring language and, consequently, conscious thought, adherents believe that they can convey truths more profound than those that logical verbal discourse can express. So the lore goes.
It is unlikely that this mythic practice will carry much authority with our readers. For how would one know if the message has been received, if a ‘non-thought’ can be said to comprise something as concrete as a message at all? And where would one begin to assess the depth of the truths thus communicated, check the accuracy of the deductions, analyze the efficacy of the procedure, and test the reliability of the set-up? The transmission cannot be disproved and that would seem to be as much as intellectual inquiry can establish. But before one sweeps aside this putative interaction as pre-modern mysticism or ‘Eastern’ mumbo jumbo that science has eradicated, it might be remembered that it is not only the Zen master who subscribes to and has faith in mental processes beside thinking.
It takes but little reflection to note that in our everyday lives we engage in a vast range of non-verbal sense-making of the world of which we have little awareness. From gauging the weather to writing an essay to falling in love, we are all dimly conscious that what may appear as decisive thoughts and deliberate actions are in no small part maintained by the unrevealed mental processes that underlie them. Implicit cognition is also discernable in a wide range of deeply-rooted cultural practices. Dancers, actors and trapeze artists are, for example, just a few of the many whose shared physical actions rely on non-declarative communication. Though it is difficult to articulate exactly what is being communicated and how, it is evident that both the mythic Zen transmissions and dizzying Cirque du Soleil acts rely upon certain ‘non-thoughts’ and the communication of these ‘non-thoughts’ as an integral part of their task.
However, since the implicit mental processes that lead up to, or conflict with, our conscious awareness are not verifiable or even directly knowable, there is immense difficulty in attempting to cover the range of these processes with any conceptual precision. We speak vaguely of having a gut instinct, a hunch, a premonition, an intuition, a ‘sense’ of things. This ‘intolerable wrestle with words and meanings’, as T.S. Eliot put it (Four Quartets 1944, 23), about the unsaid and the unsayable has always been of great fascination to artists and writers, not least Henry James, whose major novels would unravel without the crucial unspoken messages that hold the epiphanic structure in place. Isabel’s recognition of the role of Madame Merle in the piano scene in The Portrait of a Lady, for example, is all the more real for having been produced out of the unsaid. If the processes of the mind that are not conscious have preoccupied writers and artists, scientists have mostly regarded them with indifference, maintaining that what is not testable and falsifiable is an unsuitable topic of inquiry. However, in a strange turn of events, undeclared mental processes have become in the last thirty years a revived area of interest in a number of scientific fields. In psychology, the concern with mental processes besides rational thinking was well represented by Daniel Kahneman’s Thinking Fast and Slow (2011), which advanced the idea that the human mind processes information on two levels-by means of ‘System 1’, the intuitive, emotional and fast; and ‘System 2’, the rational, logical and slow. By drawing distinctions between intuitive and logical modes of thought, Kahneman successfully put rational thought on a par with what was customarily consigned to the Freudian unconscious. Before that Malcolm Gladwell popularized the idea of ‘thin-slicing’ – the unconscious and rapid processing of accumulated knowledge – in his bestselling Blink (2005), which went some way to support its subtitle: ‘The Power of Thinking Without Thinking’. Meanwhile, in neuroscience, the role of the unconscious in the human mind has become the new frontier. New and ongoing discoveries in memory and perception demonstrate that very little of what goes on in the brain is actually conscious, restoring the validity of the unconscious to human cognition. As the Nobel laureate neuroscientist Eric Kandel writes, ‘One of the most surprising insights to emerge from the modern study of states of consciousness is that Freud was right: unconscious mental processes pervade conscious thought; moreover, not all unconscious mental processes are the same’ (Kandel 2013, 546).
Against this background, this special issue on ‘Beside Thinking’ considers the range of meanings of what it is to know without thinking and how this mode of unconscious cognition has functioned throughout literary history in various cultures, alongside, beyond and against thought. While the idea of an unconscious has been a central concept in literary studies since at least the nineteenth century, with a great deal of specialized meaning accrued around it, there is still little agreement on what ‘not-thinking’ is. This special issue asks what the relation is between thought and ‘non-thought’, whatever its meaning, and discusses how thoughts define, regulate, and enable the concept of ‘non-thought’ in literature.”
From ‘The Feeling of Knowing in Mrs Dalloway: Neuroscience and Woolf’, Contradictory Woolf: Select Papers from the Twenty-First Annual International Conference on Virginia Woolf (May 2012): 108 – 114.
“The chief task of the novelist, Woolf stated, was to convey the mind receiving “an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself ” (Essays 3, 33). Novels should not merely provide the data that a character is processing in the mind—the shower of atoms—but express the experience of that data, to “record the atoms as they fall upon the mind in the order in which they fall” (Essays 3, 33). So Woolf represents to the reader not just the information of what a character may see, hear, smell, taste and touch but the process of what it feels like to have that sight, sound, smell, taste and touch and the kind of thoughts and memories they trigger, making us acutely aware that while only some mental processes are conscious, all mental processes are physical. This produces in the reader a perceptual mimesis of consciousness which approximates the process of the sensations and cognitions of lived experience.
Likewise, Damasio (2000)’s discovery about how the body-loop functions in the normal mind was that the feelings generated by the body are an essential part of rational thought. Rationality requires feeling and feeling requires the body. So the body and the mind are actually indivisible. He asserts that we live inside this contradiction of anatomical reality: rationality produced from the flesh. Long before Damasio, Woolf wrote continually of mind depending upon flesh. For example, in “On Being Ill” (1930) Woolf observed that although
literature does its best to maintain that its concern is with the mind; that the body is a sheet of glass through which the soul looks straight and clear…On the contrary the opposite is true. All day, all night the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February. The creature within can only gaze through the pane—smudged or rosy; it cannot separate off from the body like the sheath of a knife or the pod of a pea for a single instant. (4)
That we do not have a body but are a body is a fact of our existence she captured … which is one of the reasons her prose feels so alive. Feelings and thoughts are never immaterial: they are formed through the body. She begins Mrs Dalloway (1925) with the squeak of Rumplemayer’s men taking the doors off the hinges, triggering in Clarissa the physical sensation of plunging into open air 30 years before when she burst open the French windows at Bourton, the memory of which feels like being flapped and kissed by the waves of the sea. Woolf presents physical sensations as a vehicle for knowledge, undercutting the presumed opposition between reason and emotion. And emotions are suffused with highly discriminating responses to what is of value to each character. The following is Clarissa Dalloway’s famous “feeling of knowing” from Mrs Dalloway: “Only for a moment; but it was enough. It was a sudden revelation, a tinge like a blush which one tried to check and then, as it spread, one yielded to its expansion, and rushed to the farthest verge and there quivered and felt the world come closer, swollen with astonishing significance, some pressure of rapture, which split its thin skin and gushed and poured with an extraordinary alleviation over the cracks and sores. Then, for that moment, she had an illumination; a match burning in a crocus; an inner meaning almost expressed… the moment” (MD 24). What may seem like contradictory cognitive processes—thinking and feeling—in the conceptual scenography of the “two cultures” are reshaped into a continuum of “feeling of knowing” in Woolf, as they are in the experiments of Damasio. … By incorporating feeling into epistemology, Woolf guides the reader’s mind through the structure of the somatic responses that gave rise to the thoughts of the characters; this in turn creates “as-if” responses in the reader as to how another mind thinks, how another body feels.”