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- M. Fludernik & R. D. Sell (1995). The Fictions of Language and the Languages of Fiction: The Linguistic Representation of Speech and Consciousness. Journal of Pragmatics 24.
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In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw.
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 be the product of assertion and other familiar kinds of illocutionary action.2 The central thesis of this paper is that the speech act approach to fictionality is simply a non-starter. Now it is, of course, commonplace to note that approaches of this kind run into difficulty accommodating nonliterary fictions3 and uncomposed or authorless fictions. What will be argued here, however, is that speech acts analyses are inadequate even understood narrowly as accounts of composed literary fiction. And the reason is that they fail to adequately attend to the distinction between composition and storytelling.
EVERY speaker of a language knows a bewildering variety of linguistic facts, and will come to know many more. It is knowledge that connects sound and meaning. Questions about the nature of this knowledge cannot be separated from fundamental questions about the nature of language. The conception of language we should adopt depends on the part it plays in explaining our knowledge of language. This chapter explores options in accounting for language, and our knowledge of language, and defends the view that individuals’ languages are constituted by the standing knowledge they carry from one speech situation to another.
EVERY speaker of a language knows a bewildering variety of linguistic facts, and will
come to know many more. It is knowledge that connects sound and meaning. Questions
about the nature of this knowledge cannot be separated from fundamental
questions about the nature of language. The conception of language we should adopt
depends on the part it plays in explaining our knowledge of language. This chapter
explores options in accounting for language, and our knowledge of language, and
defends the view that individuals’ languages are constituted by the standing knowledge
they carry from one speech situation to another.
Discussion of M. Fludernik & R. D. Sell, The fictions of language and the languages of fiction: The linguistic representation of speech and consciousness
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