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Fiction --- Literary semiotics --- Pragmatics --- Discourse analysis, Narrative --- Literature --- Philosophy --- 82-3 --- Proza. Fictie. Narratologie --- Discourse analysis, Narrative. --- Philosophy. --- 82-3 Proza. Fictie. Narratologie --- Literature and philosophy --- Philosophy and literature --- Narrative discourse analysis --- Narration (Rhetoric) --- Theory --- 82-3 Fiction. Prose narrative --- Fiction. Prose narrative --- Literature - Philosophy

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This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal.

Motion pictures --- Philosophy. --- Cognitive psychology --- Film --- Cinéma --- -#SBIB:309H520 --- #SBIB:309H523 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Audiovisuele communicatie: algemene werken --- Audiovisuele communicatie: verhaalanalyse --- Cinéma --- #SBIB:309H520 --- Philosophy --- Philosophie --- Arts and Humanities --- Motion pictures - Philosophy.

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This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work.

Fiction --- Literature --- History and criticism. --- History and criticism --- Theory, etc. --- Fictions, Theory of --- Théorie de la fiction --- -Proza. Fictie. Narratologie --- -82-3 Proza. Fictie. Narratologie --- Théorie de la fiction --- 82-3 --- 82-3 Proza. Fictie. Narratologie --- Proza. Fictie. Narratologie --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship --- History and criticism&delete& --- Theory, etc --- Littérature --- Roman --- Histoire et critique --- Théorie, etc --- Literature - History and criticism - Theory, etc. --- Fiction - History and criticism. --- 82-3 Fiction. Prose narrative --- Fiction. Prose narrative --- Arts and Humanities --- Philosophy --- Literature History and criticism

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Works of fiction are works of the imagination and for the imagination. Gregory Currie energetically defends the familiar idea that fictions are guides to the imagination, a view which has come under attack in recent years. Responding to a number of challenges to this standpoint, he argues that within the domain of the imagination there lies a number of distinct and not well-recognized capacities which make the connection between fiction and imagination work. Currie then considers the question of whether in guiding the imagination fictions may also guide our beliefs, our outlook, and our habits in directions of learning. It is widely held that fictions very often provide opportunities for the acquisition of knowledge and of skills. Without denying that this sometimes happens, this book explores the difficulties and dangers of too optimistic a picture of learning from fiction. It is easy to exaggerate the connection between fiction and learning, to ignore countervailing tendencies in fiction to create error and ignorance, and to suppose that claims about learning from fiction require no serious empirical support. Currie makes a case for modesty about learning from fiction--reasoning that a lot of what we take to be learning in this area is itself a kind of pretence, that we are too optimistic about the psychological and moral insights of authors, that the case for fiction as a Darwinian adaptation is weak, and that empathy is both hard to acquire and not always morally advantageous.

Literature --- Imagination --- Philosophy --- Affective and dynamic functions --- Theory of knowledge --- Literature - Philosophy

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Littérature --- Théorie de la fiction --- Literature --- Fiction --- Histoire et critique. --- History and criticism --- Theory, etc.