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  1. Fact, Fiction, and Fantasy.Ben Blumson - 2015 - Midwest Studies in Philosophy 39 (1):46-57.
    This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.
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  2. Metalinguistic Acts in Fiction.Nellie Wieland - manuscript
    This chapter identifies and explains several primary functions of the fictional use of metalinguistic devices and considers some difficult cases. In particular, this chapter argues that when real persons are quoted in a storyworld they are ‘storified’ as near-real fictions. In cases of the misquotation of real persons, near-real fictions and near-real quotations must adequately exploit resemblances between the real and the fictional. This concludes with a discussion of the similarities between fictional and nonfictional uses of metalinguistic acts, and how (...)
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  3. 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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  4. Power and Limits of a Picture: On the Notion of Thought Experiments in the Philosophy of Literature.Wolfgang Huemer - forthcoming - In Falk Bornmüller, Mathis Lessau & Johannes Franzen (eds.), Literature as Thought Experiment? Paderborn: Fink.
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  5. Fiction.Fred Kroon - forthcoming - Stanford Encyclopedia of Philosophy.
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  6. Blurred Lines: How Fictional is Pornography?Aidan McGlynn - 2021 - Philosophy Compass 16 (4):e12721.
    Many pornographic works seem to count as works of fiction. This apparent fact has been thought to have important implications for ongoing controversies about whether some pornography carries problematic messages and so influences the attitudes (and perhaps even the behaviour) of its audience. In this paper, I explore the claim that pornographic works are fictional and the significance that this claim has for these issues, with a particular focus on pornographic films. Two related morals will emerge. First, we need to (...)
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  7. Imagining stories: attitudes and operators.Neil Van Leeuwen - 2021 - Philosophical Studies 178 (2):639-664.
    This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...)
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  8. Arguments From Aesthetic Merit to Fictional Content.Adrian Bruhns, Tobias Klauk & Tilmann Köppe - 2020 - Journal of Aesthetics and Art Criticism 78 (2):209-218.
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  9. Reading and Seeing: The Artistic Use of Visual Features in Contemporary Novels.Bradley Elicker - 2020 - Philosophy and Literature 44 (1):19-34.
    On reading Irvine Welsh's novel Filth for the first time, I quickly noticed that something was amiss. I followed the apparent food poisoning of amoral Detective Sergeant Bruce Robertson all the way down page twenty-three. Then, as I turned the page, something entirely unexpected happened. The text became obscured by what appeared to be the black outlines of intestines. What's more, though Robertson's first-person account of his own illness was obscured, a new narrative voice appeared within the intestines: "I am (...)
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  10. Forgetful Remembrance: Social Forgetting and Vernacular Historiography of a Rebellion in Ulster. By Guy Beiner. Pp. Xviii, 670, London, Oxford University Press, 2018, £31.50. [REVIEW]James Hanvey - 2020 - Heythrop Journal 61 (1):202-203.
  11. Fiction Is Always (Or Never) Unlimited: A Reply to Wildman and Folde.Martin Ricksand - 2020 - Journal of Aesthetics and Art Criticism 78 (2):235-238.
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  12. The Art of Being: Poetics of the Novel and Existentialist Philosophy by Yi-Ping Ong.Corina Stan - 2020 - Philosophy and Literature 44 (1):199-206.
    Yi-Ping Ong's The Art of Being: Poetics of the Novel and Existentialist Philosophy is a highly innovative book. It teases out from essays by Søren Kierkegaard, Jean-Paul Sartre, and Simone de Beauvoir an existentialist poetics of the novel, which then inspires thoughtful readings of freedom and self-consciousness, situated worldhood, and unfinished works of art in nineteenth-century novels. At every step, Ong carefully articulates the insights that set her study apart from established ways of understanding the novel as form, the legacy (...)
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  13. Ist JK Rowling böser als Ich? (überarbeitet 2019).Michael Richard Starks - 2020 - In Willkommen in der Hölle auf Erden: Babys, Klimawandel, Bitcoin, Kartelle, China, Demokratie, Vielfalt, Dysgenie, Gleichheit, Hacker, Menschenrechte, Islam, Liberalismus, Wohlstand, Internet, Chaos, Hunger, Krankheit, Gewalt, Künstliche Intelligenz, Krieg. Las Vegas, NV, USA: Reality Press. pp. 248-252.
    Wie wäre es mit einer anderen Ausg. der Reichen und Berühmten? Zuerst das Offensichtliche – die Harry-Potter-Romane sind primitiver Aberglaube, der Kinder dazu ermutigt, an Fantasie zu glauben, anstatt Verantwortung für die Welt zu übernehmen – natürlich die Norm. JKR ist genauso ahnungslos über sich und die Welt wie die meisten Menschen,aber etwa 200 Mal so destruktiv wie der durchschnittliche Amerikaner und etwa 800 Mal mehr als der durchschnittliche Chinese. Sie war verantwortlich für die Zerstörung von vielleicht 30.000 Hektar Wald, (...)
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  14. J K Rowling è più cattivo di Me? (rivisto 2019).Michael Richard Starks - 2020 - In Benvenuti all'inferno sulla Terra: Bambini, Cambiamenti climatici, Bitcoin, Cartelli, Cina, Democrazia, Diversità, Disgenetica, Uguaglianza, Pirati Informatici, Diritti umani, Islam, Liberalismo, Prosperità, Web, Caos, Fame, Malattia, Violenza, Intellige. Las Vegas, NV, USA: Reality Press. pp. 87-90.
    Che ne dite di una diversa ripercorrere i ricchi e i famosi? Prima l'ovvio: i romanzi di Harry Potter sono una superstizione primitiva che incoraggia i bambini a credere nella fantasia piuttosto che assumersi la responsabilità per il mondo, ovviamente. JKR è altrettanto all'oscuro di se stessa e del mondo come la maggior partedelle persone , macirca 200 volte più distruttivo come l'americano medio e circa 800 volte più di cinese medio. È stata responsabile della distruzione di forse 30.000 ettari (...)
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  15. Stable Strategies for Personal Development: On the Prudential Value of Radical Enhancement and the Philosophical Value of Speculative Fiction.Ian Stoner - 2020 - Metaphilosophy 51 (1):128-150.
    In her short story “Stable Strategies for Middle Management,” Eileen Gunn imagines a future in which Margaret, an office worker, seeks radical genetic enhancements intended to help her secure the middle-management job she wants. One source of the story’s tension and dark humor is dramatic irony: readers can see that the enhancements Margaret buys stand little chance of making her life go better for her; enhancing is, for Margaret, probably a prudential mistake. This paper argues that our positions in the (...)
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  16. Imaginative Resistance.Emine Hande Tuna - 2020 - Stanford Encyclopedia of Philosophy.
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  17. Defending Explosive Universal Fictions.Nathan Wildman & Christian Folde - 2020 - Journal of Aesthetics and Art Criticism 78 (2):238-242.
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  18. What Do We Mean When We Talk About Transcendence? Plato and Virginia Woolf.Robert Baker - 2019 - Philosophy and Literature 43 (2):312-335.
    The Axial Age is an expression invented by Karl Jaspers to refer to a period around the middle of the first millennium, or running from the middle of the first millennium to its end, during which a range of major religions either emerged or were transformed in different places around the world: Confucianism and Taoism in China, Hinduism and Buddhism in India, Zoroastrianism in Persia, Platonism in Greece, and prophetic Judaism in Palestine.1 Platonism, to be sure, is not exactly a (...)
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  19. Love in the Absence of Judgment.Ondřej Beran - 2019 - Philosophy and Literature 43 (2):519-534.
    Love—for most of its theorists—involves thinking about certain further things that define what love is. Thus, according to some theories, love amounts to unconditional concern about the beloved’s well-being.1 Other theories, such as Troy Jollimore’s, suggest that love is a kind of appreciative response to the qualities of the beloved person.2 These viewpoints seem to require a particular kind of epistemic focus on the part of the lovers. You have to be clear about what promotes your beloved’s well-being; spare an (...)
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  20. Value Realism and Moral Psychology: A Comparative Analysis of Iris Murdoch and Fyodor Dostoevsky.Nathan P. Carson - 2019 - Philosophy and Literature 43 (2):287-311.
    In his book Iris Murdoch: The Saint and the Artist, Peter J. Conradi suggests that “a task for critics today would seem to be to understand the indebtedness of her demonic, tormented sinners and saints and of the curious coexistence in her work of malevolence and goodness, to the dark tragi-comedies of Dostoevski.”1 In his 1986 essay “Iris Murdoch and Dostoevskii,” Conradi goes even further to argue that Fyodor Dostoevsky has been “unnoticed by commentators, a hovering or brooding presence for (...)
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  21. Towards a Phenomenological Analysis of Fictional Emotions.Marco Cavallaro - 2019 - Phainomenon. Journal of Phenomenological Philosophy 29:57-81.
    What are fictional emotions and what has phenomenology to say about them? This paper argues that the experience of fictional emotions entails a splitting of the subject between a real and a phantasy ego. The real ego is the ego that imagines something; the phantasy ego is the ego that is necessarily co-posited by any experience of imagining something. Fictional emotions are phantasy emotions of the phantasy ego. The intentional structure of fictional emotions, the nature of their fictional object, as (...)
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  22. Heidegger, Sartre, and Irresolute Dasein in Philip Roth’s The Dying Animal, Everyman, and “Novotny’s Pain”.James Duban - 2019 - Philosophy and Literature 43 (2):441-465.
    In an interview concerning his novel The Anatomy Lesson, Philip Roth remarked that narrator Nathan Zuckerman “has to be in a state of vivid transformation or radical displacement. ‘I am not what I am—I am, if anything, what I am not!’”1 The utterance has been traced to Jean-Paul Sartre’s encounter, in Being and Nothingness, with ecstatic relations. Sartre, anticipating Roth’s description of Zuckerman, similarly defines the ecstatic dimensions of consciousness that constitute Dasein. According to Sartre, consciousness must fulfill three requirements: (...)
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  23. Reason, Feeling, and Happiness: Bridging an Ancient/Modern Divide in The Plague.Gene Fendt - 2019 - Philosophy and Literature 43 (2):350-368.
    Camus is defined by many as an absurdist philosopher of revolt. The Plague, however, shows him working rigorously through a well-known division between ancient and modern ethics concerning the relation of reason, feeling and happiness. For Aristotle, the virtues are stable dispositions including affective and intellectual elements. For Kant, one’s particular feelings are either that from which we must abstract to judge moral worth, or are a constant hindrance to proper moral activity. Further, Kant claims “habit belongs to the physical (...)
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  24. Emerson and the Question of Style.Reza Hosseini - 2019 - Philosophy and Literature 43 (2):369-383.
    Rumi’s story of the elephant in the dark room is the story of the reception of Ralph Waldo Emerson. Depending upon where they have touched, which constitutes their vantage points, commentators have come to believe Emerson to be, among others, the “philosopher of Democracy”, the theologian of the American religion of self-reliance, the philosopher of the ordinary, the “friend and aider of those who live in spirit”, a genteel soul “impervious to the evidence of evil”, or a naïve writer whose (...)
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  25. The Ethics of Enchantment: The Role of Folk Tales and Fairy Tales in the Ethical Imagination.Liz McKinnell - 2019 - Philosophy and Literature 43 (1):192-209.
    Dedicated to the memory of Professor David Knight, a great storytellerRing the bells that still can ring Forget your perfect offering There is a crack in everything That's how the light gets in.In his "Thoughts on Poetry and Its Varieties,"2 John Stuart Mill suggests that an interest in narrative—plain, unadorned narrative for narrative's sake—betrays an uncultivated mind, and is at its most prominent in what he regards as unsophisticated cultures. Mill holds that literature can have two components: description of "outward (...)
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  26. Mary Wilkins Freeman’s “Louisa” and the Problem of Female Choice.Judith P. Saunders - 2019 - Philosophy and Literature 43 (2):466-481.
    In her 1890 short story “Louisa,” Mary Wilkins Freeman explores nepotistic interference with female mate selection. Twenty-five-year-old Louisa Britton is pressured by her mother to marry against her inclinations, that is, to accept a suitor whom she does not “like.”1 The focal point of Freeman’s plot is the ensuing mother-daughter conflict, an evolutionarily significant issue that invites readers to consider the questions it raises in larger terms: What motivates parents to interfere with a daughter’s mating decisions? Is a parent’s assessment (...)
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  27. Tales of Dread.Mark Windsor - 2019 - Estetika 56 (1):65-86.
    ‘Tales of dread’ is a genre that has received scant attention in aesthetics. In this paper, I aim to elaborate an account of tales of dread which effectively distinguishes these from horror stories, and helps explain the close affinity between the two, accommodating borderline cases. I briefly consider two existing accounts of the genre – namely, those of Noël Carroll and of Cynthia Freeland – and show why they are inadequate for my purposes. I then develop my own account of (...)
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  28. Монопредикативні висловлення, ускладнені синонімічними дієприслівниковим або суб’єктним дієприкметниковим зворотами (на матеріалі сучасної французької художньої прози).Anastasiia Lepetiukha - 2018 - Language: Classic – Modern – Postmodern 4:129-141.
    У статті монопредикативні висловлення з синтаксичною синонімією, ускладнені дієприслівниковим або суб’єктним дієприкметниковим зворотами, розглянуто як феноменологічно редуковані вторинні системні (мовні) трансформи, актуалізовані у вигляді моносуб’єктних мовленнєвих інновацій з імпліцитно-експліцитною або з імпліцитноекспліцитною + експліцитною предикацією. Проаналізовано структурно-семантичні особливості таких висловлень та визначено ступінь ко(н)текстуальної пертинентності всіх членів віртуального (мовного) синонімічного ряду шляхом зворотної реконструкції (мовлення → мова) трансформаційних процесів із залученням альтернативного лінгвістичного експерименту.
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  29. Релігійні виміри сучасної літератури фентезі.Sviatoslav Piven - 2018 - NaUKMA Researh Papers. Literary Studies 1:114-120.
    У статті розглянуто, як у сучасній літературі фентезі (на прикладі циклів «Відьмацька сага» Анджея Сапковського, «Пісня Льоду й Полум’я» Джорджа Мартіна та «Зворотний бік» Дари Корній) висвітлюється проблема релігії. Увага автора статті головно зосереджується на таких питаннях: як на висвітлення проблеми релігії у згаданих творах вплинула секуляризація суспільства, які саме релігійні образи та мотиви, образи релігійних інституцій наявні в творах, яке значення автори творів надають релігії у житті людини.
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  30. Discourse of Male Erotomania in Knut Hamsun’s Pan.Oksana Klymchuk - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:56-62.
    Abstract: In this article classical and Lacanian psychoanalysis is applied for interpretation of discourse and conduct of lieutenant Glahn, the protagonist of Knut Hamsun’s novel Pan. The analysis is based on the theory and case studies of psychoses from the main works by Sigmund Freud. The scene of Glahn shooting his hunting dog Asop – one of the most complicated episodes in a novel – became the starting point of this research. The application of psychoanalytic conception of paranoia to the (...)
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  31. Philosophy of Games.C. Thi Nguyen - 2017 - Philosophy Compass 12 (8):e12426.
    What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...)
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  32. Personal Ideals as Metaphors.Nick Riggle - 2017 - Journal of the American Philosophical Association 3 (3):265-283.
    What is it to have and act on a personal ideal? Someone who aspires to be a philosopher might imaginatively think “I am a philosopher” by way of motivating herself to think hard about a philosophical question. But doing so seems to require her to act on an inaccurate self-description, given that she isn’t yet what she regards herself as being. J. David Velleman develops the thought that action-by-ideal involves a kind of fictional self-conception. My aim is to expand our (...)
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  33. Fictional Persuasion and the Nature of Belief.Asbjørn Steglich-Petersen - 2017 - In Ema Sullivan-Bissett, Helen Bradley & Paul Noordhof (eds.), Art and Belief. Oxford University Press. pp. 174-193.
    Psychological studies on fictional persuasion demonstrate that being engaged with fiction systematically affects our beliefs about the real world, in ways that seem insensitive to the truth. This threatens to undermine the widely accepted view that beliefs are essentially regulated in ways that tend to ensure their truth, and may tempt various non-doxastic interpretations of the belief-seeming attitudes we form as a result of engaging with fiction. I evaluate this threat, and argue that it is benign. Even if the relevant (...)
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  34. Identity in Fiction.Richard Woodward - 2017 - Philosophy and Phenomenological Research 94 (3):646-671.
    Anthony Everett () argues that those who embrace the reality of fictional entities run into trouble when it comes to specifying criteria of character identity. More specifically, he argues that realists must reject natural principles governing the identity and distinctness of fictional characters due to the existence of fictions which leave it indeterminate whether certain characters are identical and the existence of fictions which say inconsistent things about the identities of their characters. Everett's critique has deservedly drawn much attention and (...)
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  35. Learning From Fiction and Theories of Fictional Content.Kathleen Stock - 2016 - Teorema: International Journal of Philosophy (3):69-83.
  36. Fictionality and Photography.Richard Woodward - 2016 - Journal of Aesthetics and Art Criticism 74 (3):279-289.
    In Mimesis as Make-Believe, Kendall Walton gave a pioneering account of the nature of fictionality, which holds that what it is for p to be fictional is for there to exist a prescription to imagine that p. But Walton has recently distanced himself from his original analysis and now holds that prescriptions to imagine are merely necessary conditions on fictionality. Many of the alleged counterexamples that have prompted Walton's retreat are drawn from the field of photography, and it is upon (...)
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  37. Story Size.Ben Blumson - 2015 - Philosophical Papers 44 (2):121-137.
    The shortest stories are zero words long. There is no maximum length.
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  38. Korsmeyer on Fiction and Disgust.Filippo Contesi - 2015 - British Journal of Aesthetics 55 (1):109-116.
    In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.
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  39. Routledge Philosophy Guidebook to Aristotle and the Poetics.Angela Curran - 2015 - Routledge.
    Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic (...)
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  40. “But Is It Science Fiction?”: Science Fiction and a Theory of Genre.Simon J. Evnine - 2015 - Midwest Studies in Philosophy 39 (1):1-28.
    If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the validity of attempts to (...)
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  41. Between Appropriation and Representation: Aristotle and the Concept of Imitation in Greek Thought.Gabriel Zoran - 2015 - Philosophy and Literature 39 (2):468-486.
    Let us imagine an actor on stage presenting an impersonation of a certain politician, his manners and his body language. Now, suppose another actor sitting in the audience, impressed by the show and deciding to adopt something of his colleague’s style. He rents another stage and presents an impersonation of the same politician according to what he has learned. What does he actually do? In a certain sense he “imitates” the politician, but in another sense he “imitates” the first actor, (...)
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  42. A Never-Ending Story.Ben Blumson - 2014 - Croatian Journal of Philosophy 14 (1):111-120.
    Take a strip of paper with 'once upon a time there'‚ written on one side and 'was a story that began'‚ on the other. Twisting the paper and joining the ends produces John Barth’s story Frame-Tale, which prefixes 'once upon a time there was a story that began'‚ to itself. I argue that the ability to understand this sentence cannot be explained by tacit knowledge of a recursive theory of truth in English.
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  43. Standing in the Last Ditch: On the Communicative Intentions of Fiction Makers.Gregory Currie - 2014 - Journal of Aesthetics and Art Criticism 72 (4):351-363.
    Some of us have suggested that what fiction makers do is offer us things to imagine, that this is what is distinctive of fiction and what distinguishes it from narrative-based but assertive activities such as journalism or history. Some of us hold, further, that it is the maker's intention which confers fictional status. Many, I think, feel the intuitive appeal of this idea at the same time as they sense looming problems for any proposal about fiction's nature based straightforwardly on (...)
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  44. Is The Bible Fiction?Stefan Goltzberg - 2014 - Faith and Philosophy 31 (3):325-336.
    The aim of this paper is to show that the supposed close connection between fiction and false discourse is in fact not strong at all. In wondering whether the Bible is fiction, people quite often tend to think that if you say it is fiction, you imply it is false. In order to argue for our conclusion, Freud’s notion of illusion is analyzed, as well as work by Spinoza and Searle. From the latter, the pragmatic perspective of fiction is borrowed: (...)
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  45. Logical Fictions in Medieval Literature and Philosophy.Virginie Greene - 2014 - Cambridge, England: Cambridge University Press.
    In the twelfth and thirteenth centuries, new ways of storytelling and inventing fictions appeared in the French-speaking areas of Europe. This new art still influences our global culture of fiction. Virginie Greene explores the relationship between fiction and the development of neo-Aristotelian logic during this period through a close examination of seminal literary and philosophical texts by major medieval authors, such as Anselm of Canterbury, Abélard, and Chrétien de Troyes. This study of Old French logical fictions encourages a broader theoretical (...)
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  46. What Would Dutton Say About the Paradox of Fiction?William Irwin & David Kyle Johnson - 2014 - Philosophy and Literature 38 (1A):A144-A147.
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  47. Narratives and Narrators: A Philosophy of Stories. [REVIEW]Amy Kind - 2014 - Philosophical Quarterly 64 (254):186-188.
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  48. Entidades Ficcionais.Fiora Salis - 2014 - Compêndio Em Linha de Problemas de Filosofia Analítica.
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  49. Does the Paradox of Fiction Exist?Katherine Tullmann & Wesley Buckwalter - 2014 - Erkenntnis 79 (4):779-796.
    Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse existential commitments (...)
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  50. Understanding Love: Philosophy, Film, and Fiction.Susan Wolf & Christopher Grau (eds.) - 2014 - Oxford University Press.
    A unique and interdisciplinary collection in which scholars from Philosophy join those from Film Studies, English, and Comparative Literature to explore the nature and limits of love through in-depth reflection on particular works of literature and film.
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