Results for 'fictionality'

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  1.  68
    Fiction: A Philosophical Analysis.Catharine Abell - 2020 - Oxford, UK: Oxford University Press.
    The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, (...)
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  2. Fiction and Metaphysics.Amie L. Thomasson - 1998 - Cambridge University Press.
    This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...)
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  3. Extracting fictional truth from unreliable sources.Emar Maier & Merel Semeijn - 2021 - In Emar Maier & Andreas Stokke (eds.), The Language of Fiction. Oxford: Oxford University Press.
    A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we are (...)
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  4. Fictional names in psychologistic semantics.Emar Maier - 2017 - Theoretical Linguistics 43 (1-2):1-46.
    Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain assertions (...)
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  5. Fictions that purport to tell the truth.Neri Marsili - forthcoming - Philosophical Quarterly.
    Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what is (...)
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  6.  80
    Fiction and Narrative.Derek Matravers - 2014 - Oxford University Press.
    Do fictions depend upon imagination? Derek Matravers argues against the mainstream view that they do, and offers an original account of what it is to read, listen to, or watch a narrative. He downgrades the divide between fiction and non-fiction, largely dispenses with the imagination, and in doing so illuminates a succession of related issues.
  7. Fiction As a Vehicle for Truth: Moving Beyond the Ontic Conception.Alisa Bokulich - 2016 - The Monist 99 (3):260-279.
    Despite widespread evidence that fictional models play an explanatory role in science, resistance remains to the idea that fictions can explain. A central source of this resistance is a particular view about what explanations are, namely, the ontic conception of explanation. According to the ontic conception, explanations just are the concrete entities in the world. I argue this conception is ultimately incoherent and that even a weaker version of the ontic conception fails. Fictional models can succeed in offering genuine explanations (...)
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  8. Morality, fiction, and possibility.Brian Weatherson - 2004 - Philosophers' Imprint 4:1-27.
    Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar Szabó Gendler, (...)
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  9. Fiction and Fictionalism.R. M. Sainsbury - 2009 - Routledge.
    Are fictional characters such as Sherlock Holmes real? What can fiction tell us about the nature of truth and reality? In this excellent introduction to the problem of fictionalism R. M. Sainsbury covers the following key topics: what is fiction? realism about fictional objects, including the arguments that fictional objects are real but non-existent; real but non-factual; real but non-concrete the relationship between fictional characters and non-actual worlds fictional entities as abstract artefacts fiction and intentionality and the problem of irrealism (...)
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  10. Fictional characters.Stacie Friend - 2007 - Philosophy Compass 2 (2):141–156.
    If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...)
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  11. Impossible Fictions Part I: Lessons for Fiction.Daniel Nolan - 2021 - Philosophy Compass 16 (2):1-12.
    Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our understanding of unreliable narrators and unreliable narration (...)
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  12. Fictional Entities.Fiora Salis - 2013 - Online Companion to Problems in Analytic Philosophy.
    In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. In the second part I describe (...)
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  13.  20
    Fiction and Representation.Zoltán Vecsey - 2019 - Berlin/Boston: De Gruyter.
    One of the basic insights of the book is that there is a notion of non-relational linguistic representation which can fruitfully be employed in a systematic approach to literary fiction. This notion allows us to develop an improved understanding of the ontological nature of fictional entities. A related insight is that the customary distinction between extra-fictional and intra-fictional contexts has only a secondary theoretical importance. This distinction plays a central role in nearly all contemporary theories of literary fiction. There is (...)
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  14.  68
    Fictions in legal reasoning.Manish Oza - forthcoming - Dialogue.
    A legal fiction is a knowingly false assumption that is given effect in a legal proceeding and that participants are not permitted to disprove. I offer a semantic pretence theory that shows how fiction-involving legal reasoning works.
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  15. Fictions in Science: Philosophical Essays on Modeling and Idealization.Mauricio Suárez (ed.) - 2008 - Routledge.
    Science is popularly understood as being an ideal of impartial algorithmic objectivity that provides us with a realistic description of the world down to the last detail. The essays collected in this book—written by some of the leading experts in the field—challenge this popular image right at its heart, taking as their starting point that science trades not only in truth, but in fiction, too. With case studies that range from physics to economics and to biology, _Fictions in Science_ reveals (...)
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  16. Fictional Realism and Negative Existentials.Tatjana von Solodkoff - 2014 - In Manuel García-Carpintero & Genoveva Martí (eds.), Empty Representations: Reference and Non-Existence. Oxford University Press. pp. 333-352.
    In this paper I confront what I take to be the crucial challenge for fictional realism, i.e. the view that fictional characters exist. This is the problem of accounting for the intuition that corresponding negative existentials such as ‘Sherlock Holmes does not exist’ are true (when, given fictional realism, taken literally they seem false). I advance a novel and detailed form of the response according to which we take them to mean variants of such claims as: there is no concrete (...)
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  17. The Fictional Character of Pornography.Shen-yi Liao & Sara Protasi - 2013 - In Hans Maes (ed.), Pornographic Art and the Aesthetics of Pornography. Palgrave-Macmillan. pp. 100-118.
    We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...)
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  18. Fictional Characters, Mythical Objects, and the Phenomenon of Inadvertent Creation.Zsófia Zvolenszky - 2016 - Res Philosophica 93 (2):1-23.
    My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the “inadvertent creation” (...)
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  19. 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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  20. Truth, Fiction, and Literature: A Philosophical Perspective.Peter Lamarque & Stein Haugom Olsen - 1994 - Oxford University Press.
    This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods (...)
  21. Imagination, Fiction, and Perspectival Displacement.Justin D'Ambrosio & Daniel Stoljar - forthcoming - Oxford Studies in Philosophy of Mind.
    The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...)
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  22. Science Fiction and Philosophy: From Time Travel to Superintelligence.Susan Schneider (ed.) - 2009 - Wiley-Blackwell.
    A timely volume that uses science fiction as a springboard to meaningful philosophical discussions, especially at points of contact between science fiction and new scientific developments. Raises questions and examines timely themes concerning the nature of the mind, time travel, artificial intelligence, neural enhancement, free will, the nature of persons, transhumanism, virtual reality, and neuroethics Draws on a broad range of books, films and television series, including _The Matrix, Star Trek, Blade Runner, Frankenstein, Brave New World, The Time Machine,_ and (...)
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  23. Unrealistic Fictions.Allan Hazlett & Christy Mag Uidhir - 2011 - American Philosophical Quarterly 48 (1):33--46.
    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 (...)
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  24.  3
    Fictional Immorality and Immoral Fiction.Garry Young - 2021 - Lexington Books.
    This book examines what, if anything, makes a depiction of fictional immorality—such as the murder, torture, or sexual assault of a fictional character—an example of immoral fiction, and therefore something that should be morally criticized and possibly prohibited.
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  25.  55
    Fiction and the Weave of Life.John Gibson - 2007 - Oxford University Press UK.
    Literary fiction is of crucial importance in human life. It is a source of understanding and insight into the nature of the human condition, yet ever since Plato, philosophers have struggled to provide a plausible explanation of how this can be the case. For surely the fictionality - the sheer invented character - of the literary text means that fiction presents not our world, but other worlds? In Fiction and the Weave of Life, John Gibson offers a novel and (...)
  26.  95
    Fictional Truth: In Defence of the Reality Principle.Nils Franzén - forthcoming - In Emar Maier & Andreas Stokke (eds.), The Language of Fiction. Oxford University Press.
    A well-known theory about under which circumstances a statement is true in a fiction is The Reality Principle, which originate in the work of David Lewis: (RP) Where p1... pn are the primary fictional truths of a fiction F , it is true in F that q iff the following holds: were p1 ... pn the case, q would have been the case (Walton 1990: 44). RP has been subjected to a number of counterexamples, up to a point where, in (...)
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  27. Fiction Unlimited.Nathan Wildman & Christian Folde - 2017 - Journal of Aesthetics and Art Criticism 75 (1):73-80.
    We offer an original argument for the existence of universal fictions—that is, fictions within which every possible proposition is true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.
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  28.  47
    Normative Fiction‐Making and the World of the Fiction.Manuel García-Carpintero - 2019 - Journal of Aesthetics and Art Criticism 77 (3):267-279.
    In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I (...)
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  29.  4
    Fiction, Crime, and Empire: Clues to Modernity and Postmodernism.Jon Thompson - 1993 - University of Illinois Press.
    Reading fiction from high and low culture together, Fiction, Crime, and Empire skillfully sheds light on how crime fiction responded to the British and American experiences of empire, and how forms such as the detective novel, spy thrillers, and conspiracy fiction articulate powerful cultural responses to imperialism. Poe's Dupin stories, for example, are seen as embodying a highly critical vision of the social forces that were then transforming the United States into a modern, democratic industrialized nation; a century later, Le (...)
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  30. Explaining Fictional Characters.Tatjana von Solodkoff - 2019 - Ergo: An Open Access Journal of Philosophy 6.
    Fictional characters are awkward creatures. They are described as being girls, detectives, and cats; as being famous, based on real people, and well developed, and as being paradigmatic examples of things that don’t exist. It’s not hard to see that there are tensions between these various descriptions—how can something that is a detective not exist?—and there is a range of views designed to make sense of the pre-theoretical data. Fictional realists hold that we should accept that fictional characters are part (...)
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  31.  11
    Fictional Objects.Stuart Brock & Anthony Everett (eds.) - 2015 - Oxford: Oxford University Press.
    Eleven original essays discuss a range of puzzling philosophical questions about fictional characters, and more generally about fictional objects. For example, they ask questions like the following: Do they really exist? What would fictional objects be like if they existed? Do they exist eternally? Are they created? Who by? When and how? Can they be destroyed? If so, how? Are they abstract or concrete? Are they actual? Are they complete objects? Are they possible objects? How many fictional objects are there? (...)
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  32. Moral fictions and medical ethics.Franklin G. Miller, Robert D. Truog & Dan W. Brock - 2010 - Bioethics 24 (9):453-460.
    Conventional medical ethics and the law draw a bright line distinguishing the permitted practice of withdrawing life-sustaining treatment from the forbidden practice of active euthanasia by means of a lethal injection. When clinicians justifiably withdraw life-sustaining treatment, they allow patients to die but do not cause, intend, or have moral responsibility for, the patient's death. In contrast, physicians unjustifiably kill patients whenever they intentionally administer a lethal dose of medication. We argue that the differential moral assessment of these two practices (...)
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  33. Fictional realism and metaphysically indeterminate identity.Wouter A. Cohen - 2017 - Analysis 77 (3):511-519.
    Fictional realists maintain that fictional characters are part of the world’s ontology. In an influential article, Anthony Everett argues that the fictional realist is thereby committing herself to problematic entities. Among these are entities that are indeterminately identical. Recently, Ross Cameron and Richard Woodward have answered Everett’s worry using the same strategy. They argue that the fictional realist can bypass the problematic identities by contending that they are merely semantically indeterminate. This paper concisely surveys Everett’s original argument, Cameron’s and Woodward’s (...)
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  34.  2
    Fatal Fictions: Crime and Investigation in Law and Literature.Alison L. LaCroix, Richard H. McAdams & Martha Nussbaum (eds.) - 2016 - Oxford University Press.
    Writers of fiction have always confronted topics of crime and punishment. This age-old fascination with crime on the part of both authors and readers is not surprising, given that criminal justice touches on so many political and psychological themes essential to literature, and comes equippedwith a trial process that contains its own dramatic structure. This volume explores this profound and enduring literary engagement with crime, investigation, and criminal justice. The collected essays explore three themes that connect the world of law (...)
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  35.  6
    The Fiction of Bioethics: Cases as Literary Texts.Tod Chambers - 1999 - Routledge.
    Tod Chambers suggests that literary theory is a crucial component in the complete understanding of bioethics. _The Fiction of Bioethics_ explores the medical case study and distills the idea that bioethicists study real-life cases, while philosophers contemplate fictional accounts.
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  36.  2
    Fictional Discourse: A Radical Fictionalist Semantics.Stefano Predelli - 2020 - Oxford University Press.
    Fictional Discourse: A Radical Fictionalist Semantics combines the insight of linguistic and philosophical semantics with the study of fictional language. Its central idea is familiar to anyone exposed to the ways of narrative fiction, namely the notion of a fictional teller. Starting with premises having to do with fictional names such as 'Holmes' or 'Emma', Stefano Predelli develops Radical Fictionalism, a theory that is subsequently applied to central themes in the analysis of fiction. Among other things, he discusses the distinction (...)
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  37. Imagining fictional contradictions.Michel-Antoine Xhignesse - 2020 - Synthese 199 (1-2):3169-3188.
    It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...)
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  38.  95
    Fictional Names and the Problem of Intersubjective Identification.Fiora Salis - 2013 - Dialectica 67 (3):283-301.
    The problem of intersubjective identification arises from the difficulties of explaining how our thoughts and discourse about fictional characters can be directed towards the same (or different) characters given the assumption that there are no fictional entities. In this paper I aim to offer a solution in terms of participation in a practice of thinking and talking about the same thing, which is inspired by Sainsbury's name-using practices. I will critically discuss a similar idea that was put forward by Friend (...)
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  39. Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - forthcoming - In Grant Tavinor & Jon Robson (eds.), The Aesthetics of Videogames. Routledge.
  40. Fact, Fiction, and Forecast.Nelson Goodman - 1955 - Harvard University Press.
    In his new foreword to this edition, Hilary Putnam forcefully rejects these nativist claims.
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  41.  38
    Fiction and scientific representation.Roman Frigg - 2010 - In .
    Understanding scientific modelling can be divided into two sub-projects: analysing what model-systems are, and understanding how they are used to represent something beyond themselves. The first is a prerequisite for the second: we can only start analysing how representation works once we understand the intrinsic character of the vehicle that does the representing. Coming to terms with this issue is the project of the first half of this chapter. My central contention is that models are akin to places and characters (...)
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  42. Fiction as a Genre.Stacie Friend - 2012 - Proceedings of the Aristotelian Society 112 (2pt2):179--209.
    Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...)
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  43.  16
    The Fictional Character of Scientific Models.Stacie Friend - 2019 - In Peter Godfrey Smith & Arnon Levy (eds.), The Scientific Imagination. New York, NY, USA: pp. 101-126.
    Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...)
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  44. Fictional persuasion, transparency, and the aim of belief.Ema Sullivan-Bissett & Lisa Bortolotti - 2017 - In E. Sullivan-Bissett (ed.), Art and Belief. Oxford: Oxford University Press. pp. 153-73.
    In this chapter we argue that some beliefs present a problem for the truth-aim teleological account of belief, according to which it is constitutive of belief that it is aimed at truth. We draw on empirical literature which shows that subjects form beliefs about the real world when they read fictional narratives, even when those narratives are presented as fiction, and subjects are warned that the narratives may contain falsehoods. We consider Nishi Shah’s teleologist’s dilemma and a response to it (...)
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  45.  45
    Seeing Fictions in Film: The Epistemology of Movies.George M. Wilson - 2011 - Oxford University Press.
    In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...)
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  46. Fiction and emotion.Stacie Friend - 2016 - In Amy Kind (ed.), Routledge Handbook of Philosophy of Imagination. New York: Routledge. pp. 217-229.
    Engagement with fiction often inspires emotional responses. We may pity Sethe while feeling ambivalent about her actions (in Beloved), fear for Ellen Ripley as she battles monstrous creatures (in Alien), get angry at Okonkwo for killing Ikemefuna (in Things Fall Apart), and hope that Kiyoaki and Satoko find love (in Spring Snow). Familiar as they are, these reactions are puzzling. Why do I respond emotionally if I do not believe that these individuals exist or that the events occurred? If I (...)
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  47. Fact, Fiction, and Forecast.Nelson Goodman - 1955 - Philosophy 31 (118):268-269.
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  48. Fictionality and Imagination, Revisited.Lee Walters - 2017 - Journal of Aesthetics and Art Criticism 75 (1):15-21.
    I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.
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  49. Fiction and Thought Experiment - A Case Study.Daniel Dohrn - 2016 - Teorema: International Journal of Philosophy 35 (3):185-199.
    Many philosophers are very sanguine about the cognitive contributions of fiction to science and philosophy. I focus on a case study: Ichikawa and Jarvis’s account of thought experiments in terms of everyday fictional stories. As far as the contribution of fiction is not sui generis, processing fiction often will be parasitic on cognitive capacities which may replace it; as far as it is sui generis, nothing guarantees that fiction is sufficiently well-behaved to abide by the constraints of scientific and philosophical (...)
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  50. The fiction of paradox: really feeling for Anna Karenina.Daniéle Moyal-Sharrock - 2009 - In Ylva Gustafsson, Camilla Kronqvist & Michael McEachrane (eds.), Emotions and Understanding: Wittgensteinian Perspectives. Palgrave-Macmillan.
    How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the engagement (...)
     
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