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  1. Dvir Abramovich (2001). Bearing Witness Fiction: The Supression and Evolution of Second Generation Israeli Holocaust Fiction. Literature & Aesthetics 11:99-116.
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  2. David Adams & Hans Blumenberg (1998). Does It Matter When? On Time Indifference. Philosophy and Literature 22 (1):212-218.
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  3. Gaetano Albergo (2013). L'impegno ontologico del pretense. Rivista di Estetica 53 (53):155-177.
    It is well known that, from the second year of life, children engage in imaginative activities and pretend play. Pretending is changing the nature of perceptual inputs at will. In this paper I shall take up the question of young children’s knowledge about the pretend-real distinctions. According to Josef Perner, they have an immature concept, called prelief, because they do not differentiate between believing and pretending. But, we know that belief and pretense have different inputs. Imagination is at the whim (...)
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  4. Daniel Albright (1981). Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg. University of Chicago Press.
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  5. Frederick Luis Aldama (2003). Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie.
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  6. Marguerite Alexander (1990). Flights From Realism Themes and Strategies in Postmodernist British and American Fiction.
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  7. Mark Richard Alfino (1989). Representation and Closure in Contemporary Philosophy of Language. Dissertation, The University of Texas at Austin
    This dissertation examines the general problem of how to give a philosophical account of the nature of representation by looking at three specific philosophies of language and the philosophic treatment of fictional discourse. I argue that Edmund Husserl, Ludwig Wittgenstein, and J. L. Austin all try to give accounts of meaning by arguing for what I call a "closure of meaning" in language. The closure thesis is the claim that some set of criteria can exhaustively determine the ways in which (...)
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  8. Judson Allen (1979). Chaucerian Fiction. [REVIEW] Speculum 54 (1):116-118.
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  9. R. T. Allen (1986). The Reality of Responses to Fiction. British Journal of Aesthetics 26 (1):64-68.
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  10. John Marlon Allison (1988). The Temporality of Mediacy: The Time of Narrators in Short, First-Person Fiction. Dissertation, Louisiana State University and Agricultural & Mechanical College
    This study outlines a new theory of time in first-person narrative fiction based on the concept "mediacy." By applying a phenomenological understanding of time to narrators of first-person fiction, the study draws a distinction between narration and narratization. Narration refers to the narrative act, the act of telling. This study contends that although a literary narrative may serve as record of past events, it is primarily a notation of the narrative act. The narrative act is a unified experience that exhibits (...)
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  11. Robert Alter (1988). The Invention of Hebrew Prose Modern Fiction and the Language of Realism.
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  12. Peter Alward, For the Ubiquity.
    Kania[1] has recently developed an argument which poses a serious challenge to the “ubiquity thesis†– the view that every literary narrative[2] necessarily has a fictional narrator.[3] Kania characterizes a fictional narrator as a (possibly non-human) agent who tells (or is responsible for) the narrative and who exists on “the same..
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  13. Peter Alward, Reading, Writing, and Speech Act Theory: Prolegomena to Any Future Logic of Fiction.
    meaning of a proper name is simply its referent.[1] This thesis, however, brings with it a whole host of problems. One particularly thorny difficulty is that of negative existentials, sentences of the form ‘N does not exist’ (where ‘N’ is a proper name). Intuitively, some such sentences are true, but the direct reference theory seems to imply that they must be either false or meaningless. After all, if the meaning of a name is just its referent, then a sentence such (...)
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  14. Peter Alward, Speech Acts and Fictionality.
    A common approach to drawing boundary between fiction and non-fiction is by appeal to the kinds of speech acts performed by authors of works of the respective categories. Searle, for example, takes fiction to be the product of illocutionary pretense of various kinds on the part of authors and non-fiction to be the product of genuine illocutionary action.1 Currie, in contrast, takes fiction to be the product of sui generis fictional illocutionary action on the part of authors and non-fiction to (...)
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  15. Peter Alward, For the Ubiquity.
    Kania[1] has recently developed an argument which poses a serious challenge to the “ubiquity thesis†– the view that every literary narrative[2] necessarily has a fictional narrator.[3] Kania characterizes a fictional narrator as a (possibly non-human) agent who tells (or is responsible for) the narrative and who exists on “the same..
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  16. Peter Alward (2006). Leave Me Out of It: De Re, but Not de Se, Imaginative Engagement with Fiction. Journal of Aesthetics and Art Criticism 64 (4):451–459.
    I have been dissatisfied with Walton’s make-believe model of appreciator engagement with fiction ever since my first encounter with it as a graduate student.1 What I have always objected to is not the suggestion that such engagement is broadly speaking imaginative; rather, it is the suggestion that it specifically involves de se imaginative activity on the part of appreciators. That is, while I concede that appreciators imagine (de re) of the fictional works they experience that they are thus and so, (...)
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  17. Marston Anderson (1990). The Limits of Realism Chinese Fiction in the Revolutionary Period. Monograph Collection (Matt - Pseudo).
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  18. Rhonda Anderson (2003). Revealing Positions: The Role of Point of View in the Understanding of Utterances. Dissertation, Mcmaster University (Canada)
    Explanations of how we understand some types of utterances often involve appeals to either speaker meaning or context. I suggest that these devices are inadequate for explaining how we understand utterances using the word 'I', metaphorical statements, and statements in and about works of fiction. Instead, I argue that in order to explain our understanding of such utterances, we need to appeal to point of view. ;I deal with each type of utterance separately, in each case building on a philosopher's (...)
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  19. Sandro Zucchi Andrea Bonomi (2003). A Pragmatic Framework for Truth in Fiction. Dialectica 57 (2):103-120.
    According to R. Stalnaker, context plays a role in determining the proposition expressed by a sentence by providing the domain of possible worlds that propositions distinguish between: a sentence expresses a proposition by selecting a subset of the set of possible situations given by the context. This is also true for embedded sentences, but these sentences express propositions by selecting subsets out of contexts derived from the basic one. In this paper we propose a semantic analysis of sentences of the (...)
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  20. Andrzej G. Asiorek (1995). Post-War British Fiction Realism and After.
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  21. Stephen Baker (2000). The Fiction of Postmodernity. Monograph Collection (Matt - Pseudo).
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  22. Eve Tavor Bannet (1989). Pluralist Theory-Fictions and Fictional Politics. Philosophy and Literature 13 (1):28-41.
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  23. S. Bates (1998). Lamarque, P.-Fictional Points of View. Philosophical Books 39:78-80.
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  24. Cathleen M. Bauschatz (1989). Before Reading: Narrative Conventions and the Politics of Interpretation (Review). Philosophy and Literature 13 (2):388-390.
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  25. Monroe C. Beardsley (1981). Fiction as Representation. Synthese 46 (3):291 - 313.
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  26. Monroe C. Beardsley (1976). Philosophy and the Novel: Philosophical Aspects Of_ Middlemarch, Anna Karenina, The Brothers Karamazov, A la Recherche du Temps Perdu, _and of the Methods of Criticism (Review). Philosophy and Literature 1 (1):101-106.
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  27. R. W. Beardsmore (1983). The Censorship of Works of Art. In Peter Lamarque (ed.), Philosophy and Fiction: Essays in Literary Aesthetics. Aberdeen University Press.
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  28. Catherine Belsey (2013). Does the Study of English Matter?: Fiction and Customary Knowledge. Substance 42 (2):114-127.
    Over time, we in English departments have resigned ourselves to prophecies of doom. Our discipline is said to be in terminal decline, and civilization with it. Usually, it is our own fault: the value of our work, so the story has gone, is threatened from within, whether by submission to esoteric theories on the one hand, or by dissipation into the banalities of cultural studies on the other. Our only hope, they tell us, is the immediate restoration of the old (...)
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  29. Stephen Benson (2003). Cycles of Influence Fiction, Folktale, Theory.
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  30. Michael Benton (forthcoming). Visualizing Narrative: Bridging the" Aesthetic Gap". Journal of Aesthetic Education.
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  31. Michael Benton (1982). Reading Fiction: Ten Paradoxes. British Journal of Aesthetics 22 (4):301-310.
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  32. José Luis Bermúdez & Sebastian Gardner (eds.) (2003). Art and Morality. Routledge.
    Art and Morality is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of world-class contributors tackle the important question that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to the philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include the relation (...)
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  33. Jean Bessière (1993). Enigmaticité de la Littérature Pour Une Anatomie de la Fiction au Xxe Siècle. Monograph Collection (Matt - Pseudo).
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  34. Jean Bessière (1986). Absurde Et Renouveaux Romanesques 1960-1980. Monograph Collection (Matt - Pseudo).
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  35. Shameem Black (2009). Fiction Across Borders: Imagining the Lives of Others in Late-Twentieth-Century Novels. Columbia University Press.
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  36. Robert Blanchet & Margrethe Bruun Vaage (2012). Don, Peggy, and Other Fictional Friends? Engaging with Characters in Television Series. Projections 6 (2):18-41.
    As the frequent use of metaphors like friendship or relationship in academic and colloquial discourse on serial television suggests, long-term narratives seem to add something to the spectator's engagement with fictional characters that is not fully captured by terms such as empathy and sympathy. Drawing on philosophical accounts of friendship and psychological theories on the formation of close relationships, this article clarifies in what respect the friendship metaphor is warranted. The article proposes several hypotheses that will enhance cognitive theories of (...)
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  37. George Bluestone (1961). Time in Film and Fiction. Journal of Aesthetics and Art Criticism 19 (3):311-315.
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  38. W. J. Blyton (1932). Idealism in Recent Fiction. Hibbert Journal 31:231.
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  39. Willard Bohn (1993). Family Secrets and the Psychoanalysis of Narrative (Review). Philosophy and Literature 17 (2):365-366.
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  40. Andrea Bonomi, Fictional Contexts.
    is accounted for, among other things, in terms of particular relations between events (or states1) and places or times. Roughly speaking, an event α is said to occur in a place p (or interval t) if the spatial (temporal) extension of α is located in p (or t). Let the predicate ‘Occ’ denote such a relation. From this point of view, part of the content of the above sentences can be associated, respectively, with formulas such as.
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  41. Roman Bonzon (2003). Fiction and Value. In Matthew Kieran & Dominic Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge. 160--176.
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  42. Bijoy Hati Boruah (1984). Fictional Emotion, Belief and Imagination. Dissertation, University of Guelph (Canada)
    The upshot of this thesis is that our emotional response to fiction can be explained rationally and, therefore, that Radford's allegation that such responses are puzzling is false. To provide a rational explanation of an emotion proper is to show that there is a suitable belief which constitutes both the reason for and the cause of the emotion. Radford's allegation, that an emotional response to a fictional character is not founded on such a belief and hence occurs without any identifiable (...)
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  43. Paola Bozzi (2005). Rhapsody in Blue: Vilém Flusser und der Vampyroteuthis infernalis. Flusser Studies 2005 (1):1-20.
    The depths of the sea, their obscure inhabitants and their mysteries have always been a rich source of myths and metaphors for authors and philosophers. Fables about giant squids and monstrous octopuses run through the history of literature and culture. The vampire squid is only a small phylogenetic relic, but it provides a useful model for Flusser's hybrid philosophical fiction Vampyroteuthis Infernalis. Flusser slips metaphorically into the creature’s gelatinous skin in order to speculate on the paradigms of postmodern life, measuring (...)
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  44. Catharine Savage Brosman (2000). Existential Fiction. Monograph Collection (Matt - Pseudo).
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  45. Cornelia E. Brown (1989). The Imposition of Form: Studies in Narrative Representation and Knowledge (Review). Philosophy and Literature 13 (2):396-397.
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  46. Miriam Burstein (2007). The Fictional Afterlife of Anne Boleyn: How to Do Things with the Queen, 1901-2006. Clio 37:1-26.
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  47. Stephan L. Burton (1991). Novitz on Walton. Philosophy and Literature 15 (2):295-301.
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  48. Emily Caddick Bourne, Book Review: 'Fiction and Fictionalism' by Mark Sainsbury. [REVIEW]
    What is a fictional character? Nothing, according to Mark Sainsbury. Yet it is true to say that there are fictional characters. How? Because there are fictions according to which there are specific individuals. And it can be true to say that Anna Karenina is more intelligent than Emma Bovary. How? Because the truth-value of the sentence is to be assessed under the (false) presupposition that there are such people as Emma and Anna. And it is true to say that Conan (...)
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  49. Emily Caddick Bourne, Making Sense of Metafiction.
    Event summary: The conference focuses on metafiction, taken to cover any fiction which represents itself as a fiction. Because metafictions acknowledge their own status as fictions, they are sometimes known as ‘reflexive’ or ‘self-conscious’ fictions, and sometimes generate apparently paradoxical results. The conference will explore what this reflexivity amounts to, how it distinguishes the metafictional from the non-metafictional works, and what impact this has on questions about the nature of fiction in general. Metafiction amounts to a significant – but not (...)
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  50. Emily Caddick Bourne, The Real Problem with Fictional Feelings.
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