This paper addresses the so-called paradox of fiction, the problem of explaining how we can have emotional responses towards fiction. I claim that no account has yet provided an adequate explanation of how we can respond with genuine emotions when we know that the objects of our responses are fictional. I argue that we should understand the role played by the imagination in our engagement with fiction as functionally equivalent to that which it plays under the guise of acceptance in (...) practical reasoning, suggesting that the same underlying cognitive-affective mechanisms are involved in both activities. As such, our imaginative engagement with fiction un-problematically arouses emotions, but only to the extent that we are not occurrently attending to our epistemic relation to the fiction i.e. fully attending to the fact that the object of our response is merely fictional. In order to illuminate this idea I examine a recent proposal that the phenomenology of attention is partially non-attributive, and I argue that emotional phenomenology too shares this characteristic. (shrink)

The purpose of this paper is to explore the question whether and in what sense emotions might be said to provide reasons for actions or to rationalize them. This requires that one have a picture of the causal structure of actions that is sufficiently detailed for one to see how emotions can impinge on the proc-ess of action production. I present a two-tiered model of action explanation and try to exploit this model in a tentative account of the modes of (...) in-volvement of emotions in the explanation of action. In particular, I examine in what sense emotions can be said not just to explain actions, but also to rationalize them. (shrink)

A popular account of epistemic justification holds that justification, in essence, aims at truth. An influential objection against this account points out that it is committed to holding that only true beliefs could be justified, which most epistemologists regard as sufficient reason to reject the account. In this paper I defend the view that epistemic justification aims at truth, not by denying that it is committed to epistemic justification being factive, but by showing that, when we focus on the relevant (...) sense of ‘justification’, it isn’t in fact possible for a belief to be at once justified and false. To this end, I consider and reject three popular intuitions speaking in favor of the possibility of justified false beliefs, and show that a factive account of epistemic justification is less detrimental to our normal belief forming practices than often supposed. (shrink)

The paradox of fiction presents an inconsistent triad of propositions, all of which are purported to be plausible or difficult to abandon. Here is an instance of the paradox: (1) Sally pities Anna (where Anna is the character Anna Karenina). (2) To pity someone, one must believe that they exist and are suffering. (3) Sally does not believe that Anna exists. Here is the problem. The paradox was formulated during the heyday of the cognitive theory of the emotions when there (...) was a lot of theoretical commitment to (2) or a variant of it. But now virtually no one accepts (2). To solve the paradox, we just have to find a way to reject one of the inconsistent statements. It appears easy to reject (2). So why do even some of those who do reject (2) not leave matters there? I argue that there is still good reason to consider other solutions to the paradox. It is only by doing so that we fully understand the affective states with which we respond to fiction, in particular, the distinctive functional role that they have in this context. (shrink)

The “paradox of fictional emotions” involves a trio of claims that are jointly inconsistent but individually plausible. Resolution of the paradox thus requires that we deny at least one of these plausible claims. The paradox has been formulated in various ways, but for the purposes of this chapter, we will focus on the following three claims, which we will refer to respectively as the Response Condition, the Belief Condition and the Coordination Condition.

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

Normativity involves two kinds of relation. On the one hand, there is the relation of being a reason for. This is a relation between a fact and an attitude. On the other hand, there are relations specified by requirements of rationality. These are relations among a person's attitudes, viewed in abstraction from the reasons for them. I ask how the normativity of rationality—the sense in which we ‘ought’ to comply with requirements of rationality—is related to the normativity of reasons—the sense (...) in which we ‘ought’ to have the attitudes what we have conclusive reason to have. The normativity of rationality is not straightforwardly that of reasons, I argue; there are no reasons to comply with rational requirements in general. First, this would lead to ‘bootstrapping’, because, contrary to the claims of John Broome, not all rational requirements have ‘wide scope’. Second, it is unclear what such reasons to be rational might be. Finally, we typically do not, and in many cases could not, treat rational requirements as reasons. Instead, I suggest, rationality is only apparently normative, and the normativity that it appears to have is that of reasons. According to this ‘Transparency Account’, rational requirements govern our responses to our beliefs about reasons. The normative ‘pressure’ that we feel, when rational requirements apply to us, derives from these beliefs: from the reasons that, as it seems to us, we have. (shrink)

Philosophical discussion of emotional responses to fiction has been dominated by work on the paradox of fiction, which is often construed as asking whether and how we can experience genuine emotions in reaction to fiction. One may also ask more generally how we ought to respond to fictional works, a question that has to do both with what we should do when reacting to fiction and with what we should and should not let happen to us. It is possible to (...) delineate any principles regarding the rationality, and more generally, the appropriateness of emotional responses to fiction? (shrink)

Abstract The content of an emotion, unlike the content of a perception, is directly dependent on the motivational set of the subject experiencing the emotion. Given the instability of this motivational set, it might be thought that there is no sense in which emotions can be said to pick up information about the environment in the same way that perception does. Whereas it is admitted that perception tracks for us what is the case in the environment, no such tracking relation, (...) it is argued, holds between one's emotions and what they are about. It is to this worry – that the construal of the emotions as perceptions inevitably raises – that this paper tries to respond. In this paper, I suggest that when it is realized that one dimension of perception itself is directly dependent on the perceiver's perspective on her environment, then emotion, which is also essentially perspectival in this sense, bears the comparison with perception very well. After having clarified the nature and the role that perspective plays in perception, I argue that, in the case of emotions, the same perspectival role can be played by agents’ long-standing evaluative tendencies and character traits. The resulting conception of emotion as perception is then tested against possible objections. (shrink)

It is widely held that there is a paradox in the fact that we respond emotionally to characters, situations, or events that we know to be fictional, or in other words, when they do not exist. To take a familiar example.