The nature of fantasy has been little discussed, despite its importance in the arts. Its significance is brought out here in relation to the long‐standing debate on the alleged paradox of fiction—that we respond emotionally to characters and events known to be unreal. Examination of the paradox shows it to be ill founded once the nature of fantasy is appreciated. Moreover, a detailed consideration of fantasy shows that it can itself provide a plausible account of our emotional reactions to creative (...) literature, an account that, after a review of some possible objections, is then contrasted with the leading contemporary theories. (shrink)

In this paper, I first develop desiderata for an ontology of intuitions on the basis of paradigmatic cases of intuitions in philosophy. A special focus lies on cases that have been subject to extensive first-order philosophical debates but have been receiving little attention in the current debate over the ontology of intuitions. I show that none of the popular accounts in the current debate can meet all desiderata. I discuss a view according to which intuitions reduce to beliefs, Timothy Williamson's (...) (2004, 2007) account of intuitions as beliefs or inclinations to believe, and traditional rationalist accounts of intuitions. I then show that a widely ignored account of intuitions as appearance states can meet the desiderata best. (shrink)

The capacity of a work of fictional literature to elicit emotional responses is part of what is valuable about it, and having emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in (...) ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time? (shrink)

Les paradoxes de l’horreur et de la tragédie posent la question de savoir si, et comment, il peut être rationnel de s’exposer intentionnellement, comme nous le faisons, à des œuvres fictionnelles qu’on qualifie parfois de « douloureuses ». J’entreprends de résoudre ces paradoxes en remettant en question l’idée de valence intrinsèque des émotions sur laquelle ils sont fondés et en expliquant pourquoi les émotions dirigées vers des fictions ne sont jamais désagréables ou déplaisantes, mais sont au contraire hédoniquement positives. Il (...) est donc rationnel de s’exposer aux œuvres qui les suscitent. (shrink)

The problems of exposing students to real life situations in which they can gain an insight into the dilemmas experienced by clients and staff are highlighted. The value of the Greek notion of catharsis (katharsis: a cleansing) is discussed and the use of literature is suggested as a means of providing students with vicarious experience of the real, but often inaccessible, situations in which nurses may have to make moral decisions.