Fiction

Edited by Silvia De Toffoli (University School of Advanced Studies IUSS Pavia)
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History/traditions: Fiction

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  1. The Cambridge Companion to Philosophy and Literature, ed. R. Lanier Anderson and Karen Zumhagen-Yekplé.Maya Kronfeld (ed.) - forthcoming
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  2. A Surface Reading of Vladimir Nabokov.Aleksandra Violana - 2024 - Critical Quarterly.
    What does it mean for a text to be transparent? If in order to be considered such, as the Oxford English Dictionary among others tells us, a thing must either be ‘easily seen’ or else ‘easily seen through’, what does this contradiction embedded into the term mean for the reader of transparent things? Vladimir Nabokov engages precisely this line of inquiry in the candidly named 1972 Transparent Things, his penultimate text before his death in 1977. In doing so, the author (...)
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  3. Recovering Police Legitimacy: A Radical Framework.Rafe McGregor - 2024 - Abingdon: Routledge.
    "Legitimacy is lost when the police either fail to protect the public or rely on coercion rather than consent to achieve that protection. Recovering Police Legitimacy challenges conventional criminological, political, and public solutions to the problem by approaching it from the bottom up"--.
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  4. Literary Theory and Criminology.Rafe McGregor - 2023 - Abingdon: Routledge.
    Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis. -/- This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and critical praxis – that argue (...)
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  5. Critical Criminology and Literary Criticism.Rafe McGregor - 2021 - Bristol: Bristol University Press.
    There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality. -/- McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, racism (...)
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  6. A Criminology of Narrative Fiction.Rafe McGregor - 2021 - Bristol: Bristol University Press.
    Criminology has been reluctant to embrace fictional narratives as a tool for understanding, explaining and reducing crime and social harm. -/- In this philosophical enquiry, McGregor uses examples from films, television, novels and graphic novels to demonstrate the extensive criminological potential of fiction around the world. Building on previous studies of non-fiction narratives, the book is the first to explore the ways criminological fiction provides knowledge of the causes of crime and social harm. -/- For academics, practitioners and students, this (...)
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  7. Categorizing Art.Kiyohiro Sen - 2024 - Dissertation, University of Tokyo
    This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...)
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  8. Learning from Fiction.Greg Currie, Heather Ferguson, Jacopo Frascaroli, Stacie Friend, Kayleigh Green & Lena Wimmer - 2023 - In Alison James, Akihiro Kubo & Françoise Lavocat (eds.), The Routledge Handbook of Fiction and Belief. Routledge. pp. 126-138.
    The idea that fictions may educate us is an old one, as is the view that they distort the truth and mislead us. While there is a long tradition of passionate assertion in this debate, systematic arguments are a recent development, and the idea of empirically testing is particularly novel. Our aim in this chapter is to provide clarity about what is at stake in this debate, what the options are, and how empirical work does or might bear on its (...)
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  9. When Paintings Argue.Gilbert Plumer - forthcoming - Philosophy.
    My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My approach largely consists of identifying pertinent features of viable literary cognitivism and then (...)
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  10. Pennywise Parsimony: Langland-Hassan on Imagination.Neil Van Leeuwen - forthcoming - Analysis.
    This essay discusses Peter Langland-Hassan's approach to "explaining imagination" as it plays out in his recent book of that title. Langland-Hassan offers a theory of “attitude imagining” that avoids positing what he calls a “sui generis cognitive attitude.” This theory attempts to explain things like pretend play, hypothetical reasoning, and cognition of fiction; to explain them using only (what he calls) more “basic” mental states like beliefs and desires; and thus to explain them without positing a distinct cognitive attitude of (...)
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  11. "The Indispensability of Form: A Kantian Approach to Philosophy and Literature".Maya Kronfeld - forthcoming - In The Cambridge Companion to Philosophy and Literature, ed. R. Lanier Anderson and Karen Zumhagen-Yekplé.
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  12. Utopia in Dark Romanticism: A philosophical reading of American romantic literature.Milad Roshani Payan - 2022 - Tehran: Qoqnoos publishing.
    The book Utopia in Dark Romanticism deals with a glorious period of American literature in the first half of the 19th century, but its purpose is not to narrate the history of American literature in the Romantic era, but to reconstruct the geography that was formed with the concept of Utopia in this era.
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  13. Seeing Ghosts. Apperception, Accordance and the Mode of Living Presence in Perception.Poljanšek Tom - 2022 - In Thiemo Breyer, Marco Cavallaro & Rodrigo Sandoval (eds.), Phenomenology of Phantasy and Emotion. Darmstadt: WBG. pp. 145-180.
    Based on Husserl’s distinction between mode of living presence (Modus der Leibhaftigkeit) and mode of certainty (Glaubensmodus der Gewißheit), which coincide in normal univocal perception, the paper argues for a distinction between two different types of accordance (Einstimmigkeit) in perceptual experience – local accordance and global accordance. While local accordance is characterized by the unfolding of appearances in agreement with lines of accordance instituted by recent perceptual apprehensions within a certain spatio-temporal domain, global accordance is characterized by the agreement between (...)
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  14. Two Interpretations of “According to a Story”.Maria E. Reicher - 2006 - In Andrea Bottani & Richard Davies (eds.), Modes of Existence: Papers in Ontology and Philosophical Logic. Ontos Verlag. pp. 153-172.
    The general topic of this paper is the ontological commitment to so-called "fictitious objects", that is, things and characters of fictional stories, like Sherlock Holmes and Pegasus. Discourse about fiction seems to entail an ontological commitment to fictitious entities, a commitment that is often deemed inconsistent with empirical facts. For instance, "Pegasus is a flying horse" seems to entail "There are flying horses" as well as "Pegasus exists" (according to some widely accepted logical principles). I discuss two solutions that have (...)
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  15. Funktionen des Fiktiven.Dieter Heinrich & Wolfgang Iser (eds.) - 1983 - München: W. Fink.
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  16. Double-Standard Moralism: Why We Can Be More Permissive Within Our Imagination.Mattia Cecchinato - 2023 - British Journal of Aesthetics 64 (1):67–87.
    Although the fictional domain exhibits a prima facie freedom from real-world moral constraints, certain fictive imaginings seem to deserve moral criticism. Capturing both intuitions, this paper argues for double-standard moralism, the view that fictive imaginings are subject to different moral standards than their real-world counterparts. I show how no account has, thus far, offered compelling reasons to warrant the moral appropriateness of this discrepancy. I maintain that the normative discontinuity between fiction and the actual world is moderate, as opposed to (...)
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  17. Hihyō to ideorogī.Yasumasa Okamoto, Kyōichi Kawaguchi & Shigehiko Toyama (eds.) - 1988 - Tōkyō: Kenkyūsha Shuppan.
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  18. Identity in Fiction.Seahwa Kim - 2015 - Journal of Philosophical Ideas 56:239-254.
    In this paper, I present a very interesting observation about identity in fiction. I call it the phenomenon of identity without interchangeability. It is the phenomenon that two names that have the same referent cannot be used interchangeably in some context. I argue that the phenomenon of identity without interchangeability holds in the dream context, the fictional context in a narrow sense, and the fictional context in an extended sense. I then show one application of the phenomenon in defending Kendall (...)
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  19. A Garden of One's Own, or Why Are There No Great Lady Detectives?Shelby Moser & Michel-Antoine Xhignesse - 2023 - Feminist Philosophy Quarterly 9 (1):1-20.
    Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...)
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  20. So tun, als ob: Analyse und Systematik eines ungewöhnlichen Begriffs mit einer Anwendung auf Theorien der Fiktionalität.Laura Mercolli - 2012 - Paderborn: Mentis.
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  21. Referential intentions and ordinary names in fiction.Jeonggyu Lee - 2023 - Philosophical Studies 180 (3):1059-1079.
    This paper deals with the semantics and meta-semantics for ordinary names in fiction. It has recently been argued by some philosophers that when ordinary names are used in fictional contexts, they change their semantic contents and work as fictional names in general. In this paper, I argue that there is no compelling reason to believe that such reference changes occur and defend the view that whether those names refer to real or fictional objects depends on which semantic intentions speakers have.
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  22. Entrevista a Cristhian Briceño Ángeles sobre los escritores y las editoriales.Jesús Miguel Delgado Del Aguila - 2023 - Argos. Revista Electrónica Semestral de Estudios y Creación Literaria 10 (25):167-172.
  23. Violencia social: temática regularizada y necesaria para la recepción de la novela policial peruana (1990-2013).Jesús Miguel Delgado Del Aguila - 2023 - Kipus. Revista Andina de Letras y Estudios Culturales 53 (53):89-111.
    Este artículo sistematiza las temáticas abordadas desde la novela policial peruana en el período de los años 1990 hasta el 2013, siendo la violencia social la que más destaca. Para fundamentar esa recurrencia, el autor se basa en fuentes afines que distinguen el corpus según su clasificación. Sociológicamente, se hallan los postulados teóricos como el de posmodernidad de Fredric Jameson y Mario Vargas Llosa, junto con el de criminalidad de Luis Rodríguez Manzanera. En el Perú no se evidencia una taxonomía (...)
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  24. The force of fictional discourse.Karl Bergman & Nils Franzen - 2022 - Synthese 200 (6).
    Consider the opening sentence of Tolkien’s The Hobbit: In a hole in the ground there lived a hobbit. By writing this sentence, Tolkien is making a fictional statement. There are two influential views of the nature of such statements. On the pretense view, fictional discourse amounts to pretend assertions. Since the author is not really asserting, but merely pretending, a statement such as Tolkien’s is devoid of illocutionary force altogether. By contrast, on the alternative make-believe view, fictional discourse prescribes that (...)
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  25. Introduction to Charles Mills's “The Wretched of Middle‐Earth: An Orkish Manifesto”.Chike Jeffers & David Miguel Gray - 2022 - Southern Journal of Philosophy 60 (S1):102-104.
    An introduction to the posthumously published "The Wretched of Middle-Earth: an Orkish Manifesto" by Charles Mills.
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  26. Le "Comme si": Kant, Vaihinger et le fictionalisme.Christophe Bouriau - 2013 - Paris: Les Éditions du Cerf.
    Dans l'expérience esthétique, nous éprouvons des émotions au sujet de personnages que nous savons fictionnels. Mais ne faut-il pas croire que quelque chose est réellement arrivé à une personne pour que cela nous émeuve? On trouve une contradiction du même type dans l'expérience religieuse de certains chrétiens : ils disent être émus par Jésus et par ses paroles sans pourtant penser qu'il est réellement le Fils de Dieu. Un autre paradoxe, lié lui aussi à l'usage de fictions, concerne la théorie (...)
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  27. A critical introduction to fictionalism.Fred Kroon, Jonathan McKeown-Green & Stuart Brock - 2018 - New York, NY: Bloomsbury Academic. Edited by Stuart Brock & Arthur Jonathan McKeown-Green.
    A Critical Introduction to Fictionalism provides a clear and comprehensive understanding of an important alternative to realism. Drawing on questions from ethics, the philosophy of religion, art, mathematics, logic and science, this is a complete exploration of how fictionalism contrasts with other non-realist doctrines and motivates influential fictionalist treatments across a range of philosophical issues. Defending and criticizing influential as well as emerging fictionalist approaches, this accessible overview discuses physical objects, universals, God, moral properties, numbers and other fictional entities. Where (...)
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  28. Perspectives philosophiques sur les fictions.Christophe Bouriau & Guillaume Schuppert (eds.) - 2018 - [Paris]: Éditions Kimé.
    Que peut-on espérer des fictions? Rien, déclare l'intellectuel traqueur d'illusions. Tout, affirme l'artiste désireux de valoriser les potentialités de son matériau. Mais est-on sûr de parler d'une même chose? À observer nos usages du terme, les fictions prolifèrent confusément à l'époque contemporaine, nichées dans nos oeuvres, nos discours, nos croyances, nos imaginations. Si bien que poser sérieusement la question des mérites et démérites des fictions passe par une clarification rigoureuse de ce qu'elles sont. Les philosophes se sont depuis longtemps attelés (...)
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  29. A Puzzle about Imagining Believing.Alon Chasid - 2021 - Review of Philosophy and Psychology 13 (3):529-547.
    Suppose you’re imagining that it’s raining hard. You then proceed to imagine, as part of the same imaginative project, that you believe that it isn’t raining. Such an imaginative project is possible if the two imaginings arise in succession. But what about simultaneously imagining that it’s raining and that you believe that it isn’t raining? I will argue that, under certain conditions, such an imagining is impossible. After discussing these conditions, I will suggest an explanation of this impossibility. Elaborating on (...)
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  30. Sistematización hermenéutica en torno a las representaciones literarias de La ciudad y los perros.Jesús Miguel Delgado Del Aguila - 2022 - A Entheoria: Cadernos de Letras E Humanas 9 (1):44-63.
    La ciudad y los perros ha sido expuesta para el análisis de la comunidad hermenéutica durante más de cincuenta años. En ese sentido, es insoslayable recurrir al criterio sistematizador que fundamenta Hans-Georg Gadamer en su texto Verdad y método, que es de utilidad para catalogar y criticar condicionalmente las propuestas que se han desarrollado en torno a la diversidad de representaciones literarias que han sido manifestadas en este libro. Para la efectividad de este trabajo, se asume que este objeto de (...)
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  31. Enfoque educativo de La ciudad y los perros (1963): adquisición necesaria de la violencia para los personajes.Jesús Miguel Delgado Del Aguila - 2022 - Bajo Palabra 2 (30):225-238.
    Este trabajo retoma las concepciones básicas de la violencia, comprendidas por autores como Benjamín, Domenach, Žižek, Sen, entre otros. El propósito es configurar empíricamente el recorrido de la violencia en La ciudad y los perros. Este procedimiento será graficado con un triángulo jerárquico, en el que se percibirá la orientación cíclica e iterativa de ese indicador negativo. Por lo tanto, se cerciorarán calificativos como los de víctima o afines, que se condicionan a los protagonistas. En ese sentido, este texto cumple (...)
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  32. "Fiction, Imagination, and Narrative".Patrik Engisch - 2022 - In Patrik Engisch & Julia Langkau (eds.), The Philosophy of Fiction: Imagination and Cognition. Routledge. pp. 320.
    In a series of publications, Derek Matravers has challenged what he calls the “consensus view” of the nature of fiction. According to this consensus view, there is a conceptual route that starts with the notion of a prescription to imagine and that ends up with a systematic distinction between fiction and non-fictional representations. This paper engages in a systematic reconstruction of Matravers’ argument against the consensus view as well as a rebuttal of recent rejoinders offered by Gregory Currie and Kathleen (...)
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  33. Narrative Thickness.Rafe McGregor - 2020 - Estetika: The European Journal of Aesthetics 52 (1):3.
    The purpose of this paper is to demonstrate that the experience of a literary narrative qua literary narrative is an experience of narrative thickness, i.e. an experience in which narrative form and narrative content are inseparable. I explain my thesis of poetic thickness in §1, showing why it does not admit of extension from poetry to literary narratives. §§2-3 synthesise the work of Derek Attridge and Peter Lamarque, advancing narrative thickness as a necessary condition of literary narratives. I propose a (...)
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  34. "What is Holding Us Together? David Hume, Edgar Allan Poe and the Problem of Association".Maya Kronfeld - 2022 - Review of English Studies.
    Poe’s experimental fiction revitalizes Hume’s ambivalent empiricism, the complexities of which were sometimes obscured in the philosopher’s nineteenth-century American reception. Poe’s ‘Murders in the Rue Morgue’ broaches formally the question of how one thought leads to another, while ‘The Man that Was Used Up’ stages the question of what grounds the unity of one’s thoughts. Reading both tales together exposes the scope and limits of an associationist paradigm often traced back to Hume. But reading Hume through Poe’s verbal art reveals (...)
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  35. Theolologicophilolological Investigations: Is Wittgenstein’s Tractatus a Modernist Work?Robert Vinten - 2021 - Philosophical Investigations 45 (3):274-296.
    In her recent book, A Different Order of Difficulty, Karen Zumhagen-Yekplé uses a resolute reading of Wittgenstein’s Tractatus Logico-Philosophicus to highlight similarities between Wittgenstein’s work and his contemporaries Virginia Woolf, James Joyce and Franz Kafka. On the basis of this reading, she claims that Wittgenstein’s early masterpiece is a modernist work. -/- This article argues that there are profound problems with the resolute reading that she offers, and it suggests that ‘traditional’ readings of the Tractatus survive the criticisms she makes (...)
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  36. Fiction and Epistemic Value: State of the Art.Mitchell Green - 2022 - British Journal of Aesthetics 62 (2):273-289.
    We critically survey prominent recent scholarship on the question of whether fiction can be a source of epistemic value for those who engage with it fully and appropriately. Such epistemic value might take the form of knowledge (for ‘cognitivists’) or understanding (for ‘neo-cognitivists’). Both camps may be sorted according to a further distinction between views explaining fiction’s epistemic value either in terms of the author’s engaging in a form of telling, or instead via their showing some state of affairs to (...)
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  37. Reply to Abell’s and Currie’s comments on Gilmore’s Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind.Jonathan Gilmore - 2022 - British Journal of Aesthetics 62 (2):205-214.
    I am grateful to Catharine Abell and Gregory Currie for their incisive and productive commentaries on Apt Imaginings. In what follows, I will try to respond to.
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  38. Definition of Fiction: State of the Art.David Davies - 2022 - British Journal of Aesthetics 62 (2):241-255.
    In his 2014 book Fiction and Narrative, Derek Matravers mounts a concerted attack on what he terms the ‘post-Walton consensus’ as to the features that distingui.
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  39. Emotion in Fiction: State of the Art.Stacie Friend - 2022 - British Journal of Aesthetics 62 (2):257-271.
    In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...)
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  40. Reply to Abell’s and Gilmore’s comments on Currie’s Imagining and Knowing: the Shape of Fiction.Greg Currie - 2022 - British Journal of Aesthetics 62 (2):215-222.
    I am grateful to Catharine Abell and Jonathan Gilmore for their comments and for the opportunity to think again about some important questions. Before I respond.
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  41. Fictional reference: How to Account for both Directedness and Uniformity.Alberto Voltolini - 2022 - British Journal of Aesthetics 62 (2):291-305.
    In the old days of descriptivism, fictional reference and non-fictional reference with proper names were treated on a par. Descriptivism was not an intuitive theory, but it meritoriously provided a unitary semantic account of names, whether referentially full or empty. Then the revolution of the new theory of reference occurred. This new theory is definitely more intuitive than descriptivism, yet it comes with a drawback: the referentially full use and the referentially empty use, notably the fictional use, of names are (...)
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  42. Reply to Currie’s and Gilmore’s comments on Abell’s Fiction: A Philosophical Analysis.Catharine Abell - 2022 - British Journal of Aesthetics 62 (2):195-204.
    The metaphysical question of what determines the contents of fictive utterances is closely related to the epistemological question of how audiences identify the.
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  43. Commentary on Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind by Jonathan Gilmore; and Imagining and Knowing: the Shape of Fiction by Gregory Currie.Catharine Abell - 2022 - British Journal of Aesthetics 62 (2):163-172.
    In their engaging and valuable contributions to the philosophy of fiction and literature, Jonathan Gilmore and Gregory Currie address overlapping issues concern.
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  44. Commentary on Fiction: A Philosophical Analysis, by Catharine Abell; and Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind by Jonathan Gilmore.Gregory Currie - 2022 - British Journal of Aesthetics 62 (2):185-194.
    These two excellent books ask what it is for an audience to engage appropriately with a work of fiction. Catharine Abell argues a radical rethink of foundationa.
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  45. Introduction and Précis.Paloma Atencia-Linares & Derek Matravers - 2022 - British Journal of Aesthetics 62 (2):159-162.
    Through the last decade of the last millennium, several influential books were published on Fiction, notably among these are Kendall Walton’s Mimesis and Make B.
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  46. Commentary on Fiction: A Philosophical Analysis, by Catharine Abell; and Imagining and Knowing: The Shape of Fiction, by Gregory Currie.Jonathan Gilmore - 2022 - British Journal of Aesthetics 62 (2):173-183.
    Each of these books offers a richly developed and nuanced account of the nature of fiction. And each poses major challenges to a view about which there is a near-consensus. Catharine Abell draws on a theory of the institutions of fiction to advance a systematic re-envisioning of the metaphysics and epistemology of the contents of stories. Gregory Currie argues that fiction’s relationship to the imagination, and the way stories communicate their contents to readers, seriously undermine fiction’s cognitive values.
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  47. Demoting Fictional Names—A Critical Note to Predelli’s Fictional Discourse: A Radical Fictionalist Semantics.Tatjana von Solodkoff - 2022 - British Journal of Aesthetics 62 (2):223-230.
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  48. Fictional Discourse: A Reply to von Solodkoff’s ‘Demoting Fictional Names’.Stefano Predelli - 2022 - British Journal of Aesthetics 62 (2):231-240.
    In Fictional Discourse, I proposed an analysis of what I call ‘fictional discourse’, first and foremost as it appears in an author’s fictional creation (what Ta.
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  49. «Persecución» (cuento).Jesús Miguel Delgado Del Aguila - 2022 - Argos. Revista Electrónica Semestral de Estudios y Creación Literaria 9 (24):1-5.
  50. The Mask of Memnon: Meaning and the Novel.Jean-Luc Beauchard - 2022 - Eugene, OR, USA: Wipf and Stock.
    What gives life its meaning? This question stands behind every philosophical inquiry, and philosophy itself arises from it. Confronting the problem of meaning is, as Camus says, the fundamental task of human life. Yet at bottom, meaning is an aesthetical category. Meaning hinges on interpretation. It makes sense then to turn to art--and in particular the art form which deals most explicitly with meaning, the novel--if we are to attempt to address it. Inspired by but critical of Roland Barthes's "death (...)
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