This paper responds to two arguments that have been offered against the positing of ‘i-desires’, imaginative counterparts of desire supposedly involved in fiction, pretence, and mindreading. The Introspection Argument asks why, if there are both i-desires and desires, the distinction is so unfamiliar and hard to draw, unlike the relatively clear distinctions between perception and mental imagery, or belief and belief-like imagining. The Accountability Argument asks how it can make sense to treat merely imaginative states as revealing of someone’s psychology, (...) the way we do with responses to fiction. I argue that carefully considering the relationship between other states and their imaginative counterparts sheds light on how we should expect i-desires to differ from desires, and suggests that we may often be in states that are _indeterminate_, in limbo between the two categories. This indeterminacy explains why the distinction is often hard to draw, and why these states can be revealing about us even without (determinately) being real desires. (shrink)

I examine the nature of human-robot pet relations that appear to involve genuine affective responses on behalf of humans towards entities, such as robot pets, that, on the face of it, do not seem to be deserving of these responses. Such relations have often been thought to involve a certain degree of sentimentality, the morality of which has in turn been the object of critical attention. In this paper, I dispel the claim that sentimentality is involved in this type of (...) relations. My challenge draws on literature in the philosophy of art and in cognitive science that attempts to solve the so called paradox of fictional emotions, i.e., the seemingly paradoxical way in which we respond emotionally to fictional or imaginary characters and events. If sentimentality were not at issue, neither would its immorality. For the sake of argument, however, I assume in the remaining part of the paper that sentimentality is indeed at play and bring to the fore aspects of its badness or viciousness that have not yet been discussed in connection with robot pets. I conclude that not even these aspects of sentimentality are at issue here. Yet, I argue that there are other reasons to be worried about the wide-spread use of ersatz companionship technology that have to do with the potential loss of valuable, self-defining forms of life. (shrink)

There seems to be a perfectly ordinary sense in which different speakers can use an empty name to talk about the same thing. Call this fictional coreference. It is a constraint on an adequate theory of empty names that it provide a satisfactory account of fictional coreference. The main claim of this paper is that the pretense theory of empty names does not respect this constraint.

A long‐standing aim of cinema – in particular of ‘extreme’, ‘unwatchable’ or ‘feel‐ bad’ cinema – has been to acquaint viewers with extreme suffering. In this article I first offer an explication of that aim in terms of recent work in philosophy of mind, then exploit the resulting framework to examine claims to the effect that a new technological development, Virtual Reality, provides cinema's best shot at achieving that aim.

The nature of fantasy has been little discussed, despite its importance in the arts. Its significance is brought out here in relation to the long‐standing debate on the alleged paradox of fiction—that we respond emotionally to characters and events known to be unreal. Examination of the paradox shows it to be ill founded once the nature of fantasy is appreciated. Moreover, a detailed consideration of fantasy shows that it can itself provide a plausible account of our emotional reactions to creative (...) literature, an account that, after a review of some possible objections, is then contrasted with the leading contemporary theories. (shrink)

Several facets of the “flimsy pretext” archetype “My dog ate my homework” are analysed. We do so by considering textual accounts of events from real life filteredthrough the media, and we resort to formalisms (episodic formulae, Wigmore Charts) to capture some aspects of their gist. We also analyse several gag cartoons,either one-panel or multi-panel, and either as produced by others, or ones authored by this writer for the very purpose of probing into potential uses of the archetype. Sometimes the archetype (...) can even be used other than as standing for a pretext, but this is only possible when the ‘homework’ metaphor is somewhat overstretched, or then when different idioms are hybridized. Other important topics we consider are intertextuality (textual and possibly also visual); observation levels from Negrotti’s naturoid theory; and ALIBI, an automated inventor of pretexts. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

Most epistemologists hold that knowledge entails belief. However, proponents of this claim rarely offer a positive argument in support of it. Rather, they tend to treat the view as obvious and assert that there are no convincing counterexamples. We find this strategy to be problematic. We do not find the standard view obvious, and moreover, we think there are cases in which it is intuitively plausible that a subject knows some proposition P without—or at least without determinately—believing that P. Accordingly, (...) we present five plausible examples of knowledge without (determinate) belief, and we present empirical evidence suggesting that our intuitions about these scenarios are not atypical. (shrink)

¿Qué papel puegan las emociones en el juicio moral? ¿Y cómo pueden contribuir a la formación de una sociedad democrática más justa y estable? El propósito de este artículo es analizar cómo la filosofía, el arte y las humanidades en general juegan en tal sentido un papel inexcusable. Necesitamos ir más allá de las teorías contractualistas de la justicia, nos dice Nussbaum. La nueva propuesta de justicia habrá de fundamentarse en el hecho del pluralismo y de la globalización de los (...) problemas, pero también en un cosmopolitismo humanista que asuma nuestra huama y compartida finitud y vulnerabilidad. (shrink)

I give grounds for taking seriously the possibility that some of the emotions we ascribe do not exist. I build on the premise that the experience of imagining an emotion resembles that of having one. First a person imagines having an emotion. This is much like an emotion, so the person takes herself to be having the emotion that she imagines, and acts or expects a disposition to act accordingly. The view sketched here contrasts possibly impossible emotions such as disembodied (...) passion, blind rage, and Quixotic courage with real ones such as affection, anger, and bravery. Both these real emotions and the states of imagining impossible ones are things that really happen to us. (shrink)

Some philosophers have claimed that emotions are states of mind where an object is taken seriously. Seriousness, as this paper understands it, involves both a phenomenological change in attention and non-indifference towards an object. The paper investigates how contemporary theories of emotion can explain the seriousness of emotion. After rejecting explanations based on feeling, desire, and concern, the paper argues that the seriousness of an emotion can be explained as the manifestation of a concern in an outwardly directed feeling. Given (...) the lack of competing explanations, seriousness probably must be explained this way. This argument shows how emotional feelings constitutively depend on desires, and why desires are essential ingredients to emotion. (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 307-325, March 2022.

Debates that revolve around the topic of morality and fiction rarely explicitly treat virtual worlds like, for example, Second Life. The reason for this disregard cannot be that all users of virtual worlds only do the right thing while online—for they sometimes even virtually kill each other. Is it wrong to kill other people in a virtual world? It depends. This essay analyzes on what it depends, why it is that killing people in a virtual world sometimes is wrong, and (...) how different virtual killings are wrong in different ways. I argue that killing people online is wrong if it is an instance of deliberately and non-consensually evoking disagreeable emotions in others. Establishing this conclusion requires substantial conceptual work, as virtual worlds feature new kinds of fictional agency, particular emotional responses to fiction, and unique ways in which the fiction of the virtual world relates to the wrongness of the killing. (shrink)

Novels and thought experiments can be pathways to different kinds of knowledge. We may, however, be hard pressed to say exactly what can be learned from novels but not from thought experiments. Headway on this matter can be made by spelling out their respective conditions for epistemic failure. Thought experiments fail in their epistemic role when they neither yield propositional knowledge nor contribute to an argument. They are largely in the business of ‘knowing that’. Novels, on the other hand can (...) be an epistemic success by yielding ‘knowledge how’. They can help us to improve our competences. (shrink)

In his presidential address, at the fiftieth anniversary of the American Society of Aesthetics in 1992, Peter Kivy suggested that "progress in the philosophy of art in the immediate future is to be made not by theorizing in the grand manner, but by careful and imaginative philosophical scrutiny of the individual arts and their individual problems." The study of the individual arts, and the differences between them, has, in the ensuing decades, provided a useful corrective to aesthetic theorizing in the (...) grand manner. In this essay, I urge philosophers of art, art educators, and art theorists to consider a different option—the rigorous and creative investigation of art clusters: that is, various collections of artworks and art kinds, unified by significant similarities and cutting across the recognized artforms and genres. (shrink)

On the notion of responsibility employed by John Passmore in his classic Man’s Responsibility for Nature, the relationship of responsibility can only hold between persons (human beings, subjects), or groups and communities of them, and other persons. And in this relationship the persons that are responsible 'to' other persons are responsible 'for' how their actions affect these other persons, not to the direct object of these actions (in this case: nature). If this is correct, we cannot be responsible to nature (...) without conceiving of it as a ‘pseudo-person’, as Passmore calls it. However, non-anthropocentric environmental ethics requires such a moral relationship. The question is, therefore, how this can be allowed in a metaphysically acceptable way. To answer this I first provide an account of what it means to stand in the relation of being ‘responsible to’. Next, I describe two major paradigmatic examples of the metaphysics of nature that perfectly match the thesis that we can, and should, be responsible to nature (the Spinoza-inspired view and the Gaia hypothesis). Unfortunately, they have to be rejected for common sense or naturalist reasons. Finally, I therefore defend a 'fictionalist' view of nature (as person-like) that allows for this relationship. (shrink)

I offer a novel interpretation of Aristotle's psychology and notion of rationality, which draws the line between animal and specifically human cognition. Aristotle distinguishes belief (doxa), a form of rational cognition, from imagining (phantasia), which is shared with non-rational animals. We are, he says, “immediately affected” by beliefs, but respond to imagining “as if we were looking at a picture.” Aristotle's argument has been misunderstood; my interpretation explains and motivates it. Rationality includes a filter that interrupts the pathways between cognition (...) and behavior. This prevents the subject from responding to certain representations. Stress and damage compromise the filter, making the subject respond indiscriminately, as non-rational animals do. Beliefs are representations that have made it past the filter, which is why they can “affect [us] immediately.” Aristotle's claims express ceteris paribus generalizations, subject to exceptions. No list of provisos could turn them into non-vacuous universal claims, but this does not rob them of their explanatory power. Aristotle's cognitive science resolves a tension we grapple with today: it accounts for the specialness of human action and thinking within a strictly naturalistic framework. The theory is striking in its insight and explanatory power, instructive in its methodological shortcomings. (shrink)

Inquiry, Volume 57, Issue 1, Page 55-96, February 2014.

The ethics of humor has suffered from failure to distinguish objects of evaluation. This paper’s main thesis is that once we do distinguish the evaluation of ordinary humorous acts—everyday joking and laughing—from that of humorous amusement or mirth considered as a mental state, we find that, with one important qualification, the former is not particularly distinctive; standard moral theories apply straightforwardly. What presents special issues for moral philosophy is, rather, the mental state, and its assessment from the viewpoint of virtue (...) and character. The paper explores several ways in which mirth per se can be morally bad. (shrink)

There is an important debate in the philosophy of mind that has roots in the phenomenological tradition, namely: what are the primitive forms of consciousness, that is, what are the fundamental ingredients or aspects of consciousness. This paper wants to contribute to partially answering this general question by providing an answer to a required sub-question within this question: is emotional phenomenology fundamental? I will answer in the affirmative and will offer an argument focused on contemplative emotions elicited by fiction. Another (...) type of contemplative emotions, namely, esthetic emotions, have been invoked in the literature but I will argue that the phenomenology of emotions elicited by fiction, given their continuity and sameness in kind with the phenomenology of garden variety emotions, are more dialectically efficient vis-à-vis the debate on the irreducibility of emotional phenomenology. (shrink)

In a recent publication Travis Timmerman has claimed that sometimes it is morally permissible to not prevent something bad from happening, even if it is in one’s power to do so without sacrificing anything nearly as important.1 To defend his point, he has proposed a thought experiment and based his claims on putative common-sense morality intuitions. To aid in the subsequent discussion, Timmerman’s case is reproduced as follows.

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view by (...) philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.

Nostalgia and food are intertwined universals in human experience. All of us have experienced nostalgia centered on food, and all of us have experienced food infused with nostalgia. To explore the links between nostalgia and food, I start with a rough taxonomy of nostalgic foods, and illustrate it with examples. Despite their diversity, I argue that there is a psychological commonality to experiencing nostalgic foods of all kinds: imagination. On my account, imagination is the key to understanding the cognitive, conative, (...) affective, and perceptual aspects of experiencing nostalgic foods. In turn, the recognition of imagination’s centrality in experiencing nostalgic foods reveals how food can produce aesthetic experiences comparable to those produced by literature and painting. (shrink)

Tension and suspense are powerful emotional experiences that occur in a wide variety of contexts (e.g., in music, film, literature, and everyday life). The omnipresence of tension experiences suggests that they build on very basic cognitive and affective mechanisms. However, the psychological underpinnings of tension experiences remain largely unexplained, and tension and suspense are rarely discussed from a general, domain-independent perspective. In this paper, we argue that tension experiences in different contexts (e.g., musical tension or suspense in a movie) build (...) on the same underlying psychological processes. We discuss key components of tension experiences and propose a domain-independent model of tension and suspense. According to this model, tension experiences originate from states of conflict, instability, dissonance, or uncertainty that trigger predictive processes directed at future events of emotional significance. We also discuss possible neural mechanisms underlying experiences of tension. The model provides a theoretical framework that can inform future empirical research on tension phenomena. (shrink)

In Emotions, Values, and Agency, Christine Tappolet develops a sophisticated, perceptual theory of emotions and their role in wide range of issues in value theory and epistemology. In this paper, we raise three worries about Tappolet's proposal.

In this paper, I will argue that Radfords real question is not the conceptual one, as it is usually taken, but the causal one, and show that Waltons account, which treats Radfords puzzle as the conceptual question, is not a satisfactory solution to it. I will also argue that contrary to what Walton claims, the causal question is not only important, but also closely related to the conceptual and normative questions. What matters is not that Walton has not solved Radfords (...) puzzle per se, but that he has not recognized the importance of this puzzle. While doing this, I will suggest a revision to the cognitive theory of emotion. (shrink)

While the meta-ethical error theory has been of philosophical interest for some time now, only recently a debate has emerged about the question what is to be done if the error theory turns out to be true. This paper argues for a novel answer to this question, namely revolutionary expressivism: if the error theory is true, we should become expressivists. Additionally, the paper explores certain important but largely ignored methodological issues that arise for reforming definitions generally and with a vengeance (...) in the context of a radical error theory about all practical normative judgements, and suggests how these issues can be resolved. (shrink)

ABSTRACT:The paper begins by surveying a range of possible views on the metaphysics of romantic love, organizing them as responses to a single question. It then outlines a position, constructionist functionalism, according to which romantic love is characterized by a functional role that is at least partly constituted by social matters, although this role may be realized by states that are not socially constructed.

According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine Stecker’s objection (...) to the familiar versions of the affective response argument and the line of support for ethical-aesthetic interaction he proposes to install in their place. I conclude that neither is compelling; however, an important insight can be salvaged from his positive proposal, and I argue that the insight does, in fact, point toward a novel defense of the thesis. (shrink)

Cet article remet en question une définition de la fiction parue en 1988, dans un ouvrage intitulé « Contribution à une étude du concept de fiction ». Etant fondée sur la théorie des actes de langage, cette définition présentait en effet l’inconvénient de ne pouvoir s’appliquer qu’aux fictions verbales. Une nouvelle définition est donc proposée dans cet article, faisant apparaître clairement la fiction comme un concept de nature pragmaticosémiotique : une fiction est une représentation, verbale ou non verbale, qu’un auteur (...) produit consciemment dans le but de la transmettre à un destinataire. En transmettant cette représentation, l’auteur de la fiction adopte une attitude spécifique, consistant à inviter le destinataire à imaginer un monde fictif dont les caractéristiques sont compatibles avec celles du monde décrit dans la représentation. Sur la base de cette définition, l’article recense des exemplifications de fictions aussi diverses que possible, selon la nature de leur support de représentation et selon leur fonction, puis il pose la question du rôle des fictions dans notre vie quotidienne et, en particulier, sur la manière dont elles nous apprennent quelque chose sur le monde réel. (shrink)

Both lay people and philosophers assume that hoping for something implies imagining it. According to contemporary philosophical accounts of hope, hope involves an element of imagination as input, part, or output of hope. However, there is no systematic view of the interaction between hope and the different processes constituting imagination. In this paper we put forward a view of (i) the kind of imaginings typically triggered by hopeful states, (ii) the nature of the interaction between hope and hopeful imaginings, and (...) (iii) the epistemic value of imagining out of hope. We argue that a paradigmatic output of hope is an immersive kind of cognitive imagination. Additionally, justified hopes constrain our immersive imaginings in such a way as to provide them with a specific epistemic value. Hopeful imaginings are not mere fantasies or wishful thinking; they constitute valuable experiences we can learn from and rely on in planning our future. (shrink)

Why does cinema exert such power over our emotions? Many have wanted to answer by appeal to the idea that film sustains some illusion concerning the events it narrates. I compare three such views: that film sustains the illusion that those events are before us; that it sustains that illusion, but only partially; and that, though viewers are always fully aware of seeing pictures, those pictures are experienced as the moving photographic record of the narrated events. I identify these positions’ (...) successes and failures in explaining film’s emotional power, and various ways in which the issue between them might be tested further. (shrink)

Thought about fictional characters is special, and needs to be distinguished from ordinary world-directed thought. On my interpretation, Kendall Walton and Gareth Evans have tried to show how this serious fiction-directed thought can arise from engagement with a kind of pretending. Many criticisms of their account have focused on the methodological presupposition, that fiction-directed thought is the appropriate explanandum. In the first part of this paper, I defend the methodological claim, and thus the existence of the problem to which pretense (...) is supposed to be a solution. In the second part, I elaborate and defend the pretense theory as a solution to this problem. (shrink)

Until recently philosophy of religion has been almost exclusively focused upon the analysis of western religious ideas. The central concern of the discipline has been the concept God , as that concept has been understood within Judaeo-Christianity. However, this narrow remit threatens to render philosophy of religion irrelevant today. To avoid this philosophy of religion should become a genuinely multicultural discipline. But how, if at all, can philosophy of religion rise to this challenge? The paper considers fictionalism about religious discourse (...) as a possible methodological standpoint from which to practice a tradition-neutral form of philosophy of religion. However, after examining some of the problems incurred by fictionalism, the paper concludes that fictionalism and religious diversity are uneasy bedfellows; which implies that fictionalism is unlikely to be the best theory to shape the practice of philosophy of religion in a multicultural context. (shrink)

Two recent novels, Ian McEwan’s Atonement and Margaret Atwood’s The Blind Assassin, are philosophically instructive. These books are interesting, I argue, because they reveal something about understanding and appreciating narrative. They show us that audience’s participation in narrative is much more subtle and complex than philosophers generally acknowledge. An analysis of these books reveals that narrative imagining is not static or unified, but dynamic and multipolar. I argue that once the complexity of narrative engagement is better understood, some prominent philosophical (...) problems and debates concerning narrative dissolve. (shrink)

A key epistemic puzzle about theatrical performances of fictional narratives has to do with how spectators pick out and recognize the characters they encounter. An adequate solution to the puzzle is constrained by several factors : it should be similar to what we need to say about picking out and recognition of characters in non-fictional narratives ; it should be similar to what we need to say about picking out and recognizing elements in non-narrative performances ; it be it must (...) be sensitive to the fact that most plays do not name or describe their characters ; it must be sensitive to the fact that most spectators have no prior experience or preparation for what they will encounter ; and it must comport with any plausible story we have to tell about the mechanisms we bring to the identification and re-identification of individuals in daily life. In this paper, I review a solution that meets these constraints and, in particular, I show why the proposed solution is likely to be subserved by very basic cognitive mechanisms involved in object perception and recognition in everyday life. I conclude by responding to ontological worries the solution is likely to foster. (shrink)

When engaging with magic, we are moved by seemingly impossible events that contradict what we believe to be possible in the real world. We are surprised, curious, and baffled when we cannot explain how the magic we are witnessing is possible. We generally understand the events to be illusions. But how is it possible to be moved by something we know to be unreal? This problem is related to the paradox of fiction in aesthetics. Here, we introduce the problem in (...) the domain of theatrical magic, discuss possible solutions, and present a tentative account that allows us to accommodate inconsistent, seemingly incompatible beliefs at different representational levels in the viewers’ mind. (shrink)

This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have toward analogous circumstances (...) in real life. (shrink)

Forthcoming, Journal of Philosophy [pdf manuscript].

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist alternatives (...) in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

John Searle argues that fictions are constituted by mere pretense—by the simulation of representational activities like assertions, without any further representational aim. They are not the result of sui generis, dedicated speech acts of a specific kind, on a par with assertion. The view had earlier many defenders, and still has some. Stefano Predelli enlists considerations derived from Searle in support of his radical fictionalism. This is the view that a sentence of fictional discourse including a prima facie empty fictional (...) name like “Emma Woodhouse” in fact “is not a sentence, and it encodes no proposition whatsoever.” His argument is broadly abductive; he claims that this view affords compelling explanations of features of fictions he finds well-established, among them that fictions without explicit narrators nonetheless have covert ones. Here I take up his arguments, in defense of the dedicated speech act view. I thus address pressing issues about the status of fictional names and the nature and ubiquity of narrators in fictions. (shrink)

The ability to engage in and recognize pretend play begins around 18 months. A major challenge for theories of pretense is explaining how children are able to engage in pretense, and how they are able to recognize pretense in others. According to one major account, the metarepresentational theory, young children possess both production and recognition abilities because they possess the mental state concept, PRETEND. According to a more recent rival account, the Behavioral theory, young children are behaviorists about pretense, and (...) only produce and recognize pretense as a sort of behavior--namely, behaving 'as-if'. We review both the metarepresentational and Behavioral accounts and argue that the Behavioral theory fails to characterize very young children's abilities to produce and to recognize pretense. Among other problems, the Behavioral theory implies that children should frequently mis-recognize regular behavior as pretense, while certain regular forms of pretend play should neither be produced nor recognized. Like other mental states, pretense eludes purely behavioral description. The metarepresentational theory does not suffer these problems and provides a better account of children's pretense. 2016 APA, all rights reserved). (shrink)

A familiar question in the literature on emotional responses to fiction, originally put forward by Colin Radford, is how such responses can be rational. How can we make sense of pitying Anna Karenina when we know there is no such person? In this paper I argue that contrary to the usual interpretation, the question of rationality has nothing to do with the Paradox of Fiction. Instead, the real problem is why there is a divergence in our normative assessments of emotions (...) in different contexts. I argue that explaining this divergence requires a more nuanced account of the rationality of emotion than has previously been proposed. One advantage of my proposal over alternatives is that it helps to explain one way we can learn emotionally from fiction and imagination. (shrink)

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.