Online research in philosophy

n this essay I want to offer an analysis of the structure of the fictional emotions that we have reading novels. I shall start with a presentation of the structure of emotions in general and their relation to aesthetic fiction. Afterwards, I shall offer a critical review of the current positions on fictional emotions. The aim of this section is to question the presuppositions that dominate the current debate on fictional emotions in particular and on emotions in general. Finally, I shall develop my own account on this issue. The thesis that I am going to defend is that fictional emotions possess doxastic and practical rationality and that they are full fledged emotional experiences the reality of which we should not doubt, even though they show some peculiarities.

Key Words: Fictional emotion, quasi-emotion, doxastic rationality, practical rationality, assumption.

The fictional monster Cthulhu was created by HP Lovecraft. Therefore there is some thing, Cthulhu, that Lovecraft created. Cthulhu is a fictional being, so there are fictional beings. You can’t kick a fictional being, so they are abstract. Thankfully, all of this is compatible with a sparse nominalistic ontology. What is important for the nominalist is that a world of concreta suffices to ground all truths, and fictional beings have their grounds in concrete acts of interpretation. Or so I will argue. Along the way we’ll deal with indeterminate identity of fictional characters, as well as making some general remarks about metaontology.

One of the central concerns of Moran's essay The Expression of Feeling in Imagination1 is to address the problem of fictional emotions - that is, of our emotional responses towards fictional characters, situations or events – and to clarify whether it is essentially related to some form of imagining or another.2 Moran's specific aim is thereby to criticise Walton's solution to the problem in terms of (as it seems) propositional imagining, and to present his own alternative account in terms of emotional imagining. In this paper, I will primarily be concerned with the question of whether he has succeeded in this aim. But I intend also to briefly introduce and discuss towards the end a third approach to the problem and, especially, to the issue of whether imagining plays a central role in the occurrence of fictional emotions.

The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional characters. I then address two objections to such realist theories of fiction: One, that they can’t adequately account for the truth of singular nonexistence claims involving fictional names, and two, that accepting that there are fictional characters to which we refer is implausible or ontologically profligate.

Theories that seek to explain the status of psychological states experienced in fictional contexts either claim that those states are special propositional attitudes specific to fictional contexts (make-believe attitudes), or else define them as normal propositional attitudes by stretching the concept of a propositional attitude to include ‘objectless’ states that do not imply constraints such as truth or satisfaction. I argue that the first theory is either vacuous or false, and that the second, by defining the reality of the states in question only nominally, risks having a result similar to the first. Then I put forward an explanation of how propositional attitudes function in fictional contexts which meets the following requirements: (i) does not postulate the existence of attitudes specific to or definitive of fictionality; (ii) does not imply that we transgress our knowledge of the ontological claims of fictions for some attitudes (for example, fear) but not others (belief); (iii) explains how we can adopt normal propositional attitudes towards fictions; (iv) allows explanation of how attitudes adopted during fictional response connect or are relevant to our broader systems of belief and volition.

Attention to the conversational role of alethic terms seems to dominate, and even sometimes exhaust, many contemporary analyses of the nature of truth. Yet, because truth plays a role in judgment and assertion regardless of whether alethic terms are expressly used, such analyses cannot be comprehensive or fully adequate. A more general analysis of the nature of truth is therefore required – one which continues to explain the significance of truth independently of the role alethic terms play in discourse. We undertake such an analysis in this paper; in particular, we start with certain elements from Kant and Frege, and develop a construct of truth as a normative modality of cognitive acts (e.g., thought, judgment, assertion). Using the various biconditional T-schemas to sanction the general passage from assertions to (equivalent) assertions of truth, we then suggest that an illocutionary analysis of truth can contribute to its locutionary analysis as well, including the analysis of diverse constructions involving alethic terms that have been largely overlooked in the philosophical literature. Finally, we briefly indicate the importance of distinguishing between alethic and epistemic modalities.

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..

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..

The first question to be addressed about fictional entities is: are there any? The usual grounds given for accepting or rejecting the view that there are fictional entities come from linguistic considerations. We make many different sorts of claims about fictional characters in our literary discussions. How can we account for their apparent truth? Does doing so require that we allow that there are fictional characters we can refer to, or can we offer equally good analyses while denying that there are any fictional entities?