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  1. Fictions that don’t tell the truth.Neri Marsili - 2024 - Philosophical Studies 181 (5):1025-1046.
    Can fictions lie? According to a classic conception, works of fiction can never contain lies, since their content is not presented as true, nor is it meant to deceive us. But this classic view can be challenged. Sometimes fictions appear to make claims about the actual world, and these claims can be designed to convey falsehoods, historical misconceptions, and even pernicious stereotypes. Should we conclude that some fictional statements are lies? This article introduces two views that support a positive answer, (...)
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  • AI-aesthetics and the artificial author.Emanuele Arielli - forthcoming - Proceedings of the European Society for Aesthetics.
    ABSTRACT. Consider this scenario: you discover that an artwork you greatly admire, or a captivating novel that deeply moved you, is in fact the product of artificial intelligence, not a human’s work. Would your aesthetic judgment shift? Would you perceive the work differently? If so, why? The advent of artificial intelligence (AI) in the realm of art has sparked numerous philosophical questions related to the authorship and artistic intent behind AI-generated works. This paper explores the debate between viewing AI as (...)
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  • Moral Responsibility, the Author, and the Ethical Criticism of Art.Zhen Li - 2023 - Philosophia 51 (5):2479-2496.
    In this paper, I argue that since artworks cannot take moral responsibility, it is impossible to establish any sort of ethical criticism towards them for their own sake. Ethical criticism of art is inevitably directed at the artist(s), who can take moral responsibility for creating or performing the art in certain ways. Therefore, we should distinguish between two types of criticism towards art: (1) the ethical criticism should be contextualized within the author-work framework, meaning that the extent to which the (...)
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  • The Phenomenon of Unreliable Narration in the British Intellectual Prose of the Second Half of the Twentieth Century.Olha Shapoval, Ivan Bakhov, Antonina Mosiichuk, Oksana Kozachyshyna, Liudmyla Pradivlianna & Nataliia Malashchuk-Vyshnevska - 2022 - Postmodern Openings 13 (2):273-286.
    The article is devoted to the consideration the problem of the phenomenon of an unreliable narration in the British intellectual prose of the second half of the twentieth century. The meaning of the words “narrator”, “unreliable narration” is investigated. The unreliable narration is reviewed based on the example of the novel “Rites of Passage” by Golding. It is noted that the aforementioned work has a vibrant didactic component. It has been found that Golding uses a wide range of narrative techniques. (...)
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  • Interiorizing Ethics through Science Fiction. Brave New World as a Paradigmatic Case Study.Raquel Cascales - 2021 - In Edward Brooks, Emma Cohen de Lara, Álvaro Sánchez-Ostiz & José M. Torralba (eds.), Literature and Character Education in Universities. Theory, Method, and Text Analysis. Routledge. pp. 153-169.
    Raquel Cascales and Luis Echarte focus on the development of practical wisdom and what they call ‘seeing with the heart’ for science students by means of reading science fiction literature. They argue that literature can bring the student into contact with the reality of moral life as moral dilemmas are made concrete by the characters and circumstances in a novel. They provide an analysis of how Aldous Huxley’s Brave New World can be read in the classroom and show how the (...)
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  • Unreliability and Point of View in Filmic Narration.Emar Maier - 2022 - Epistemology and Philosophy of Science 59 (2):23-37.
    Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of ambiguous story-telling that we (...)
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  • Secret agents: Feminist theories of women’s film authorship.Catherine Grant - 2001 - Feminist Theory 2 (1):113-130.
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  • (1 other version)Place, Image and Argument: The Physical and Nonphysical Dimensions of a Collective Ethos.Jianfeng Wang - 2020 - Argumentation 34 (1):83-99.
    “Place” as an argumentative domain, which has been taken for granted and treated by theorists of argumentation simply as a physical notion designating the occasion where an argumentation takes place, carries far more complex meanings beyond its traditionally assumed domain in the following three dimensions: as a geographical locale; as a concept, an idea, a history or a notion with its own disputable narratives and presumptions; and as an imaginative geography. Similarly, an image or a character projected through argumentative discourse (...)
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  • 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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  • Imaginative Resistance and Empathic Resistance.Thomas Szanto - 2020 - Topoi 39 (4):791-802.
    In the past few decades, a growing number of philosophers have tried to explain the phenomenon of imaginative resistance, or why readers often resist the invitation of authors to imagine morally deviant fictional scenarios. In this paper, I critically assess a recent proposal to explain IR in terms of a failure of empathy, and present a novel explanation. I do so by drawing on Peter Goldie’s narrative account of empathic perspective-taking, which curiously has so far been neglected in the IR-literature. (...)
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  • Dura geografia.Benhur Bortolotto - 2017 - Bakhtiniana 12 (3):22-36.
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  • Coherence, Literary and Epistemic.Charles Repp - 2017 - Journal of Aesthetics and Art Criticism 75 (1):59-71.
    Coherence is a term of art in both epistemology and literary criticism, and in both contexts judgments of coherence carry evaluative significance. However, whereas the epistemic use of the term picks out a property of belief sets, the literary use can pick out properties of various elements of a literary work, including its plot, characters, and style. For this reason, some have claimed that literary critics are not concerned with the same concept of coherence as epistemologists. In this article I (...)
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  • (3 other versions)Editor's corner.Joe Bishop - 2007 - Educational Studies 41 (2):103-105.
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  • Personal Style and Artistic Style.Nick Riggle - 2015 - Philosophical Quarterly 65 (261):711-731.
    What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, personal style. In fact, both (...)
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  • Paul Ricoeur and the Biblical Hermeneutics.George Bondor - 2010 - Journal for the Study of Religions and Ideologies 9 (27):203-218.
    Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} The main aim of this paper is to analyze the texts in which Paul Ricoeur discusses the relation between biblical and philosophical hermeneutics and to argue that biblical hermeneutics is the central part of Ricoeur’s philosophical project. If the modern hermeneutics (Schleiermacher, Dilthey, etc.) aims to reveal the general principles (...)
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  • One's Remembered Past: Narrative Thinking, Emotion, and the External Perspective.Peter Goldie - 2003 - Philosophical Papers 32 (3):301-319.
    Abstract Narrative thinking has a very important role in our ordinary everyday lives?in our thinking about fiction, about the historical past, about how things might have been, and about our own past and our plans for the future. In this paper, which is part of a larger project, I will be focusing on just one kind of narrative thinking: the kind that we sometimes engage in when we think about, evaluate, and respond emotionally to, our own past lives from a (...)
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  • Narrative vigilance: the analysis of stories in health care.John Paley & Gail Eva - 2005 - Nursing Philosophy 6 (2):83-97.
    The idea of narrative has been widely discussed in the recent health care literature, including nursing, and has been portrayed as a resource for both clinical work and research studies. However, the use of the term 'narrative' is inconsistent, and various assumptions are made about the nature (and functions) of narrative: narrative as a naive account of events; narrative as the source of 'subjective truth'; narrative as intrinsically fictional; and narrative as a mode of explanation. All these assumptions have left (...)
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  • Where Ethics and Aesthetics Meet: Titian's Rape of Europa.A. W. Eaton - 2003 - Hypatia 18 (4):159 - 188.
    Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.
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  • Remarks on the visuddhimagga , and on its treatment of the memory of former dwelling(s) ( pubbenivāsānussatiñāṇa ).Steven Collins - 2009 - Journal of Indian Philosophy 37 (5):499-532.
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  • Cinematic narrators.Katherine Thomson-Jones - 2009 - Philosophy Compass 4 (2):296-311.
    This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.
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  • Authors, Intentions and Literary Meaning.Sherri Irvin - 2006 - Philosophy Compass 1 (2):114–128.
    This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.
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  • The identification of self.Andrew Travers - 1995 - Journal for the Theory of Social Behaviour 25 (3):303–340.
    The approach is by a winding road about nine miles long, boldly cut out of the rock … the road comes to an end in front of a long underground passage leading into the mountain, enclosed by a heavy double door of bronze. At the far end of the underground passage a wide lift, panelled with sheets of copper, awaits the visitor. Through a vertical shaft of 330 feet cut right through the rock, it rises up to the level of (...)
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  • Austin's Method.Hanno Birken-Bertsch - 2014 - In Brian Garvey (ed.), Austin on Language. Palgrave-Macmillan. pp. 89-107.
    The question is whether Urmson's account depicts Austin's method needs a qualified answer. Roughly, the answer is that what it presents is not Austin's method because it is not the whole of Austin's method. Urmson confines his attention to aspects of the inner structure of the method and leaves out the question of its motivation and possible aims.
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  • Leadership and Character(s): Behavioral Business Ethics in ‘War and Peace’.Christopher Michaelson - 2021 - Journal of Business Ethics 177 (1):31-47.
    Leo Tolstoy was on to behavioral ethics before there was such as a thing as behavioral ethics. Three scenes from his magnum opus, War and Peace, demonstrate that Tolstoy diagnosed some of the same problems that occupy modern behavioral ethics: confirmation bias, slippery-slope reasoning, and illusions of control. However, whereas modern behavioral ethics has done more to diagnose problems than to prescribe solutions, Tolstoy’s theories of moral psychology and leadership provide direction for human moral self-cultivation. This analysis of War and (...)
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  • Catullan Myths: Gender, Mourning, and the Death of a Brother.Aaron M. Seider - 2016 - Classical Antiquity 35 (2):279-314.
    This article considers Catullus’ reaction to his brother’s death and argues that the poet, having found the masculine vocabulary of grief inadequate, turns to the more expansive emotions and prolonged dedication offered by mythological examples of feminine mourning. I begin by showing how Catullus complicates his graveside speech to his brother in poem 101 by invoking poems 65, 68a, and 68b. In these compositions, Catullus likens himself to figures such as Procne and Laodamia, and their feminine modes of grief become (...)
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  • Two main problems in the sociology of morality.Gabriel Abend - 2008 - Theory and Society 37 (2):87-125.
    Sociologists often ask why particular groups of people have the moral views that they do. I argue that sociology’s empirical research on morality relies, implicitly or explicitly, on unsophisticated and even obsolete ethical theories, and thus is based on inadequate conceptions of the ontology, epistemology, and semantics of morality. In this article I address the two main problems in the sociology of morality: (1) the problem of moral truth, and (2) the problem of value freedom. I identify two ideal–typical approaches. (...)
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  • Minimal authorship (of sorts).Christy Mag Uidhir - 2011 - Philosophical Studies 154 (3):373 - 387.
    I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.
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  • Philosophy and Rhetoric: An Abbreviated History of an Evolving Identity.Gerard A. Hauser - 2007 - Philosophy and Rhetoric 40 (1):1 - 14.
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  • Narrative and coherence.Gregory Currie & Jon Jureidini - 2004 - Mind and Language 19 (4):409–427.
    We outline a theory of one puzzling aspect of human cognition: a tendency to exaggerate the degree to which agency is manifested in the world. We call this over‐coherent thinking. We use Pylyshyn's idea of cognitive penetrability to help characterize this notion. We argue that this kind of thinking is essentially narrative in form rather than theoretical. We develop a theory of the relation between the degree of narrativity in a representation and its aptness to represent, and to express, mind. (...)
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  • The ontology of mass art.Noel Carroll - 1997 - Journal of Aesthetics and Art Criticism 55 (2):187-199.
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  • Defending the Hypothetical Author.Szu-Yen Lin - 2023 - British Journal of Aesthetics 63 (4):579-599.
    In contemporary analytic philosophy of art, the intentionalist debate is about whether the author’s intention is relevant to the interpretation of her work. Various positions have been proposed, and in this paper I defend what I call hypothetical author-hypothetical intentionalism, the position that interpretation is based on the intention attributed to the author constructed from the work. There are three aims to achieve: (1) to give a general account of hypothetical author-hypothetical intentionalism; (2) to present a moderate version of hypothetical (...)
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  • Interpretation and the Implied Author: A Descriptive Project.Szu-Yen Lin - 2018 - Southern Journal of Philosophy 56 (1):83-100.
    The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...)
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  • Connecting Integrity, Respect, and Ethical Disagreement in Darwin and Dawkins.Miles C. Coleman - 2015 - Philosophy and Rhetoric 48 (3):292-312.
    ABSTRACT In public debates there are occasions on which persons might feel obligated to show disrespect in order to preserve integrity. In some public discourses interlocutors often show disrespect by “writing off” one another's reasons in an attempt to defend and preserve their own particular beliefs. To make better sense of the apparent discomfiture of intuitions concerning the connections between respect and integrity in such public confrontations, an “other-words orientation” to communication is proposed. The other-words orientation requires that individuals “stand (...)
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  • The Powers of the False: Reading, Writing, Thinking Beyond Truth and Fiction.Doro Wiese - 2014 - Northwestern University Press.
    Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...)
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  • Deux conceptions de l’interprétation des récits de fiction.Jérôme Pelletier - 2005 - Philosophiques 32 (1):39-54.
    I discuss two ways one may explain how we interpret the content of a fictional. In the first, the interpreter’s task aims at deciding what is true in a fictional story by figuring out the narrative intentions behind its production. Narrative interpretation is a matter of figuring out the story-telling intentions of the (implied) author of the work. This is Currie’s intentionalist model of narrative interpretation, a conception I present and discuss on the basis of experimental results in the psychology (...)
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  • Postmodern pedagogies and the death of civic humanism.Elizabeth Hatmaker, Scott Herstad, Margaret R. Nugent, Lisa Prothers, Ronald Strickland & Jason Swarts - 1997 - Social Epistemology 11 (3 & 4):339 – 348.
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  • (1 other version)Place, Image and Argument: The Physical and Nonphysical Dimensions of a Collective Ethos.Jianfeng Wang - 2020 - Argumentation 34 (1):83-99.
    “Place” as an argumentative domain, which has been taken for granted and treated by theorists of argumentation simply as a physical notion designating the occasion where an argumentation takes place, carries far more complex meanings beyond its traditionally assumed domain in the following three dimensions: as a geographical locale; as a concept, an idea, a history or a notion with its own disputable narratives and presumptions; and as an imaginative geography. Similarly, an image or a character projected through argumentative discourse (...)
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  • Innovation and change in the production of knowledge.Harvey Goldman - 1995 - Social Epistemology 9 (3):211 – 232.
    (1995). Innovation and change in the production of knowledge. Social Epistemology: Vol. 9, Knowledge (EX) Change, pp. 211-232. doi: 10.1080/02691729508578789.
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  • Story versus discourse in film studies: a return to the theory of enunciation. [REVIEW]Basilio Casanova & Jesús González-Requena - 2022 - Semiotica 2022 (246):61-86.
    In this paper, we address the problematic of film narration and its narrator from a re-reading of Émile Benveniste’s theory of enunciation in open discussion with both the theories of film enunciation that have derived from it, and the cognitive theories that, by discarding it, have tried to take its place. This has led us to a differentiation between two dimensions of the problem of enunciation that are usually ignored: that which separates the act of enunciation and the subject who (...)
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  • Heidegger and the Aesthetics of Rhetoric.Joshua Reeves & Ethan Stoneman - 2014 - Philosophy and Rhetoric 47 (2):137-157.
    But that which remains the poets have founded.In contemporary rhetorical theory, the relationship between rhetoric and art tends to be articulated in terms of aesthetics. This increasingly popular discourse on “aesthetic rhetoric,” however, is characterized by a remarkable diversity. The rhetoric of fiction, poetry, and other literary genres, for example, has been explored in these terms (e.g., Booth 1983), as has the rhetoric of film (Haskins 2003), photography (Hariman and Lucaites 2007), and even natural landscapes (Clark 2004). From a different (...)
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  • Semiotics of literary meaning: A dual model.Ibrahim Taha - 2002 - Semiotica 2002 (139):263-281.
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  • Narrative, meaning, interpretation: an enactivist approach. [REVIEW]Marco Caracciolo - 2012 - Phenomenology and the Cognitive Sciences 11 (3):367-384.
    After establishing its roots in basic forms of sensorimotor coupling between an organism and its environment, the new wave in cognitive science known as “enactivism” has turned to higher-level cognition, in an attempt to prove that even socioculturally mediated meaning-making processes can be accounted for in enactivist terms. My article tries to bolster this case by focusing on how the production and interpretation of stories can shape the value landscape of those who engage with them. First, it builds on the (...)
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  • Transubstantiation as a normative process: James Joyce and Carl Schmitt in 1922.Wojciech Engelking - 2024 - Thesis Eleven 181 (1):34-55.
    The thesis that legal norms are rooted in theology is not new. It is worth considering, however, to what extent not only singular norms, but also models of normativity are the structural representation of theological concepts. In this article, I consider transubstantiation as one of such ideas. I analyse its place in two political theologies published at the same time (in 1922): Carl Schmitt’s Political Theology and James Joyce’s Ulysses. I argue that both thinkers used the idea of transubstantiation as (...)
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  • Literary Experience as Experience of Literary Worlds. Imagination's Bearing on Literary Reality and Phantasy's Bearing on Literary Existence.Bianca Bellini - 2018 - Res Cogitans 13 (1).
    While reading literary works, what do readers experience? Do they experience only the words they listen to or read? How can we describe the experience of reading literary works? Do phantasy and imagination play any role during such experiences? These kinds of questions usually give rise to a twofold kind of research: on the one hand, a philosophical effort of combing through literature itself as a philosophical object of study, and — on the other hand — an attempt to argue (...)
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  • Death on the Freeway: Imaginative resistance as narrator accommodation.Daniel Altshuler & Emar Maier - 2020 - In Ilaria Frana, Paula Menendez Benito & Rajesh Bhatt (eds.), Making Worlds Accessible: Festschrift for Angelika Kratzer. UMass ScholarWorks.
    We propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...)
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  • La resurrección del autor en la crítica francesa actual . El caso de la crítica de reatribución de Pierre Bayard.Nicolás Garayalde - 2018 - Co-herencia 15 (29):251-281.
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  • Narrativity and enaction: the social nature of literary narrative understanding.Yanna B. Popova - 2014 - Frontiers in Psychology 5:103021.
    This paper proposes an understanding of literary narrative as a form of social cognition and situates the study of such narratives in relation to the new comprehensive approach to human cognition, enaction. The particular form of enactive cognition that narrative understanding is proposed to depend on is that of participatory sense-making, as developed in the work of Di Paolo and De Jaegher. Currently there is no consensus as to what makes a good literary narrative, how it is understood, and why (...)
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  • Colloquium 1.Diskin Clay - 1999 - Proceedings of the Boston Area Colloquium of Ancient Philosophy 15 (1):xxiii-21.
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  • The Transmission of Ideas and Values Through the Use of Literature in School: Indicative Cases With Toddlers.Eleni Ilia - 2022 - Philosophy Study 12 (6).
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  • Fiction and its other: How trespassers help defend the border.Marie-Laure Ryan - 2002 - Semiotica 2002 (138).
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