i) Íngrid Vendrell Ferran’s defence of the ‘experiential view’ and her related conception of ‘radical neo-cogntivism’, ii) Robert Piercey’s view of the epistemic value of plots and emplotment, iii) Marya Schechtman’s revisionist ideas of self-narration, and, finally, iv) David Collins’s suggestion of the value of an imaginative engagement with the author of an artwork.