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  1. The Nonexistent.Catharine Abell - 2016 - British Journal of Aesthetics 56 (2):209-212.
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  2. Bearing Witness Fiction: The Supression and Evolution of Second Generation Israeli Holocaust Fiction.Dvir Abramovich - 2001 - Literature & Aesthetics 11:99-116.
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  3. Does It Matter When? On Time Indifference.David Adams & Hans Blumenberg - 1998 - Philosophy and Literature 22 (1):212-218.
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  4. L'impegno ontologico del pretense.Gaetano Albergo - 2013 - Rivista di Estetica 53 (1):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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  5. Ontological Commitment to Pretence.Gaetano Albergo - 2013 - Rivista di Estetica 53 (1):155-177.
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  6. Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg.Daniel Albright - 1981 - University of Chicago Press.
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  7. Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie.Frederick Luis Aldama - 2003
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  8. Flights From Realism Themes and Strategies in Postmodernist British and American Fiction.Marguerite Alexander - 1990
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  9. Representation and Closure in Contemporary Philosophy of Language.Mark Richard Alfino - 1989 - 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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  10. The Providential World of Cervantes' Fiction.John J. Allen - 1980 - Thought: A Journal of Philosophy 55 (2):184-195.
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  11. Chaucerian Fiction. [REVIEW]Judson Allen - 1979 - Speculum 54 (1):116-118.
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  12. The Reality of Responses to Fiction.R. T. Allen - 1986 - British Journal of Aesthetics 26 (1):64-68.
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  13. The Temporality of Mediacy: The Time of Narrators in Short, First-Person Fiction.John Marlon Allison - 1988 - 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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  14. The Invention of Hebrew Prose Modern Fiction and the Language of Realism.Robert Alter - 1988
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  15. Partial Magic the Novel as a Self-Conscious Genre.Robert Alter - 1975
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  16. For the Ubiquity.Peter Alward - manuscript
    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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  17. For the Ubiquity.Peter Alward - manuscript
    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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  18. Empty Revelations: An Essay on Talk About, and Attitudes Toward, Fiction.Peter Alward - 2012 - Mcgill-Queen's University Press.
    What mysteries lie at the heart of fiction's power to enchant and engage the mind? Empty Revelations considers a number of philosophical problems that fiction raises, including the primary issue of how we can think and talk about things that do not exist. Peter Alward covers thought-provoking terrain, exploring fictional truth, the experience of being "caught up" in a story, and the boundaries between fiction and non-fiction. At the centre of Alward's argument is a figure known as the "narrative informant" (...)
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  19. Word-Sculpture, Speech Acts, and Fictionality.Peter Alward - 2010 - Journal of Aesthetics and Art Criticism 68 (4):389-399.
    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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  20. For the Ubiquity of Nonactual Fact-Telling Narrators.Peter Alward - 2007 - Journal of Aesthetics and Art Criticism 65 (4):401–404.
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  21. Leave Me Out of It: De Re, but Not de Se, Imaginative Engagement with Fiction.Peter Alward - 2006 - 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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  22. Theater and Fiction in France.Van Meter Ames - 1950 - Journal of Aesthetics and Art Criticism 8 (4):239 - 244.
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  23. Michel Tournier's Metaphysical Fictions.Christopher Anderson & Susan Petit - 1993 - Substance 22 (2/3):364.
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  24. The Limits of Realism Chinese Fiction in the Revolutionary Period.Marston Anderson - 1990
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  25. Revealing Positions: The Role of Point of View in the Understanding of Utterances.Rhonda Anderson - 2003 - 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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  26. Philosophy and Fiction.Susan L. Anderson - 1992 - Metaphilosophy 23 (3):203-213.
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  27. A Pragmatic Framework for Truth in Fiction.Sandro Zucchi Andrea Bonomi - 2003 - 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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  28. Film Studies and The Biocultural Turn.David Andrews & Christine Andrews - 2012 - Philosophy and Literature 36 (1):58-78.
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  29. Action And Character In Dostoyevsky'S Notes From Underground.Julia Annas - 1977 - Philosophy and Literature 1 (3):257-275.
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  30. Sara Fortuna, Il Giallo di Wittgenstein. Etica E Linguaggio Tra Filosofia E Detective Story.Brunella Antomarini - 2011 - Rivista di Estetica 48 (1):281-283.
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  31. Post-War British Fiction Realism and After.Andrzej G. Asiorek - 1995
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  32. The World Within: Fiction Illuminating Neuroses of Our Time.Mary Louise Aswell - 1948 - Journal of Aesthetics and Art Criticism 7 (2):172-173.
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  33. Family and Fiction.Catherine Backes-Clement & J. Dickson - 1972 - Substance 1 (3):15.
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  34. The Fiction of Postmodernity.Stephen Baker - 2000
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  35. Unspeakable Sentences: Narration and Representation in the Language of Fiction.Ann Banfield - 1984 - Journal of Aesthetics and Art Criticism 43 (1):101-104.
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  36. Pluralist Theory-Fictions and Fictional Politics.Eve Tavor Bannet - 1989 - Philosophy and Literature 13 (1):28-41.
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  37. Fictional Truth, Principles of Generation, and Interpretation. Or: Why It is Fictionally True That Tony Soprano Was Shot Dead.Alexander Bareis - unknown
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  38. How to Make-Believe: The Fictional Truths of the Representational Arts.Alexander Bareis & Lene Nordrum (eds.) - forthcoming - De Gruyter.
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  39. Who's Telling This Story, Anyway? Or, How to Tell the Gender of a Storyteller.Ismay Barwell - 1995 - Australasian Journal of Philosophy 73 (2):227 – 238.
  40. Lamarque, P.-Fictional Points of View.S. Bates - 1998 - Philosophical Books 39:78-80.
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  41. Before Reading: Narrative Conventions and the Politics of Interpretation (Review).Cathleen M. Bauschatz - 1989 - Philosophy and Literature 13 (2):388-390.
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  42. Fiction as Representation.Monroe C. Beardsley - 1981 - Synthese 46 (3):291 - 313.
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  43. 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).Monroe C. Beardsley - 1976 - Philosophy and Literature 1 (1):101-106.
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  44. The Censorship of Works of Art.R. W. Beardsmore - 1983 - In Peter Lamarque (ed.), Philosophy and Fiction: Essays in Literary Aesthetics. Aberdeen University Press.
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  45. Art Worlds.Howard S. Becker - 1982 - Journal of Aesthetics and Art Criticism 41 (2):226-226.
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  46. Does the Study of English Matter?: Fiction and Customary Knowledge.Catherine Belsey - 2013 - 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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  47. Fictions of the Studio.Michael Belshaw - 2011 - Journal of Aesthetic Education 45 (3):38-49.
    Not so long ago the occasional story would be told in the news that someone with a fascination for all things medical had spent months or even years masquerading as a doctor in a large and anonymous hospital. No doubt the absence of such stories today is due to heightened security and vigilance, partly as a result of the realization among hospital staff that such individuals were indeed at large. No doubt too the number of such cases was due to (...)
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  48. Cycles of Influence Fiction, Folktale, Theory.Stephen Benson - 2003
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  49. "Visualizing Narrative: Bridging the" Aesthetic Gap".Michael Benton - forthcoming - Journal of Aesthetic Education.
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  50. "Fictional Narrative and Truth: An Epistemic Analysis": L. B. Cebik. [REVIEW]Michael Benton - 1985 - British Journal of Aesthetics 25 (3):289.
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1 — 50 / 1459