In the last few decades, literary critics have increasingly drawn
insights from cognitive neuroscience to deepen and clarify our
understanding of literary representations of mind. This cognitive
turn has been equally generative and contentious. While cognitive
literary studies has reinforced how central the concept of mind is
to aesthetic practice from the classical period to the present,
critics have questioned its literalism and selective borrowing of
scientific authority. Mindful Aesthetics presents both these
perspectives as part of a broader consideration of the ongoing and
vital importance of shifting concepts of mind to both literary and
critical practice. This collection contributes to the forging of a
'new interdisciplinarity,' to paraphrase Alan Richardson's recent
preface to the Neural Sublime, that is more concerned with
addressing how, rather than why, we should navigate the
increasingly narrow gap between the humanities and the sciences.
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