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as or more than the fundamentals of the story. These have to do with the way in which by which the story is presented. My own scheme of aesthetic operations—formalization, repetition, exaggeration, repetition, and manipulation of expectation—doesn’t pin down the unpinnable, either, however I would like to see Literary Darwinists a minimum of acknowledge the aesthetic/emotional reward of this side of studying. and locate its origin in affective neuroscience. Cognitive science makes a lot of symbolic representations, but in music it is the analogical quite than symbolic meanings that carry affect. The arts, together with literature, also make necessary use of synaesthetic results that have interaction all the senses. Studies in affective neuroscience and within the cognitive neuroscience of music could be a great place to look for fashions of tips on how to method these less-traveled but necessary component of literary/inventive response (for instance, Malloch and Trevarthen; Panksepp, Affective). The work by Gottschall and others on cross-cultural and oral literature is welcome and I hope there will be extra. But there’s something else to be learned about preliterate literature than the way in which it reveals the human mind and its perennial considerations. Even earlier than the telling and listening to of tales, I think a case could be made that our ancestors artified their voices and speech for incantations, magical spells, lamentation—expressive verbal/vocalizations that make

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