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- Michael Benton (1982). Reading Fiction: Ten Paradoxes. British Journal of Aesthetics 22 (4):301-310.
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We identify a class of paradoxes that are neither set-theoretical or semantical, but that seem to depend on intensionality. In particular, these paradoxes arise out of plausible properties of propositional attitudes and their objects. We try to explain why logicians have neglected these paradoxes, and to show that, like the Russell Paradox and the direct discourse Liar Paradox, these intensional paradoxes are recalcitrant and challenge logical analysis. Indeed, when we take these paradoxes seriously, we may need to rethink the commonly accepted methods for dealing with the logical paradoxes.
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Presenting ten diverse and original moral paradoxes, this cutting edge work of philosophical ethics makes a focused, concrete case for the centrality of paradoxes within morality. Explores what these paradoxes can teach us about morality and the human condition Considers a broad range of subjects, from familiar topics to rarely posed questions Makes a concrete case for the centrality of paradox within morality Asks whether the existence of moral paradox is a good or a bad thing Presents analytic moral philosophy in a provocative, engaging and entertaining way; posing new questions, proposing possible solutions, and challenging the reader to wrestle with the paradoxes themselves.
No categories
Presenting ten diverse and original moral paradoxes, this cutting edge work of philosophical ethics makes a focused, concrete case for the centrality of paradoxes within morality. Explores what these paradoxes can teach us about morality and the human condition Considers a broad range of subjects, from familiar topics to rarely posed questions Makes a concrete case for the centrality of paradox within morality Asks whether the existence of moral paradox is a good or a bad thing Presents analytic moral philosophy in a provocative, engaging and entertaining way; posing new questions, proposing possible solutions, and challenging the reader to wrestle with the paradoxes themselves.
Recent theorists suggest that our capacity to respond affectively to fictions depends on our ability to engage in simulation: either simulating a character in the fiction, or simulating someone reading or watching the fiction as though it were fact. We argue that such accounts are quite successful at accounting for many of the basic explananda of our affective engagements in fiction. Nonetheless, we argue further that simulationist accounts ultimately fail, for simulation involves an ineliminably ego-centred element that is atypical of our experience of fiction. We then draw on recent work in philosophical psychology to articulate a more psychologically plausible account of our emotional engagement with fiction.
I distinguish paradoxes and hypodoxes among the conundrums of time travel. I introduce ‘hypodoxes’ as a term for seemingly consistent conundrums that seem to be related to various paradoxes, as the Truth-teller is related to the Liar. In this article, I briefly compare paradoxes and hypodoxes of time travel with Liar paradoxes and Truth-teller hypodoxes. I also discuss Lewis’ treatment of time travel paradoxes, which I characterise as a Laissez Faire theory of time travel. Time travel paradoxes are impossible according to Laissez Faire theories, while it seems hypodoxes are possible.
I shall describe yet another problem about fiction, similar in some respects to the ‘paradoxes of fiction’ on which so much ink has been spilt over the last quarter of a century. Since fictions are ‘made up’, what considerations stop us from making up our own endings to a fiction which is incomplete or whose ending we have lost or missed or whose ending is unpalatable?
Discussion of Michael Benton, Reading fiction: Ten paradoxes
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