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The fiction of paradox: really feeling for Anna Karenina

In Ylva Gustafsson, Camilla Kronqvist & Michael McEachrane (eds.), Emotions and Understanding: Wittgensteinian Perspectives. Palgrave-Macmillan (2009)

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  1. Sham Emotions, Quasi-Emotions or Non-Genuine Emotions? Fictional Emotions and Their Qualitative Feel.Ingrid Vendrell Ferran - 2022 - In Thiemo Breyer, Marco Cavallaro & Rodrigo Sandoval (eds.), Phenomenology of Phantasy and Emotion. Darmstadt: WBG Academic.
    Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...)
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  • La paradoja de la ficción.Íngrid Vendrell-Ferran - 2021 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
  • How Literature Expands Your Imagination.Antonia Peacocke - 2021 - Philosophy and Phenomenological Research 103 (2):298-319.
    Philosophy and Phenomenological Research, EarlyView.
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  • An Enactivist Approach to the Imagination: Embodied Enactments and "Fictional Emotions".José Medina - 2013 - American Philosophical Quarterly 50 (3):317.
    While in the movies or reading a novel, how can we feel terrified by monsters, ghosts, and fictional serial killers? And how can we feel sad or outraged by depictions of cruelty? After all, we know that the imagined threats that we fear do not exist and, therefore, pose no real threat to us; and we know that the instances of cruelty that bring tears to our eyes have not happened. And yet, the fear, the sadness, or the outrage experienced (...)
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