Journal of Aesthetics and Art Criticism 60 (3):263–273 (2002)

John Dilworth
Western Michigan University
The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays.
Keywords Fictions  Fictional Worlds  Plays  Epistemic Authority
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DOI 10.1111/1540-6245.00073
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References found in this work BETA

The Nature of Fictional Characters and the Referential Fallacy.Francis W. Dauer - 1995 - Journal of Aesthetics and Art Criticism 53 (1):31-38.

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Citations of this work BETA

The Ontology of Art and Knowledge in Aesthetics.Amie L. Thomasson - 2005 - Journal of Aesthetics and Art Criticism 63 (3):221–229.
Theater, Representation, Types and Interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.
"Theatrical Names and Reference".Michael Y. Bennett - 2015 - Palgrave Communications 1 (1).

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