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OF OTAGO  \nCAMBRIDGEUNIVERSITY PRESS  \nCAMBRIDGE UNIVERSITY PRESS  \nCambridge,New York,Melbourne,Madrid,Cape Town,Singapore,Sao Paulo,Delhi  \nCambridge University PressThe Edinburgh Building,Cambridge CB28RU,UK  \nPublished in the United States of America by Cambridge University Press,New York  \nwww.cambridge.orgInformation on this title:www.cambridge.org/9780521381277  \n◎ Cambridge University Press 1990  \nThis publication is in copyright.Subject to statutory exceptionand to the provisions of relevant collective licensing agreements,no reproduction of any part may take place without the writtenpermission of Cambridge University Press.  \nFirst published 1990Reprinted 1993This digitally printed version 2008  \nA catalogue record for this publication is available from the British Library  \nISBN 978-0-521-38127-7 hardback  \nISBN 978-0-521-09098-8 paperback  \n\"And the poets-the perverse follow them;hastthou not seen how they wander in every valley andhow they say that which they do not.”  \nThe Qu'ran  \n“The good ended happily,and the bad unhappily.That is what Fiction means.\"The Importance of Being Ernest  \nContents  \nPreface  \npage ix  \nChapter 1  \n1  \nTHE CONCEPT OF FICTION  \n1.1.Fiction and language  \n2  \n1.2.Semantic properties  \n4  \n1.3.Readers and authors  \n9  \n1.4.The pretense theory  \n12  \n1.5.Make-believe  \n18  \n1.6.The author's intentions  \n21  \n1.7.Communicative acts  \n24  \n1.8.Fictive communication  \n30  \n1.9.Objections to the necessity of the analysis  \n35  \n1.10.Objections to the sufficiency of the analysis  \n42  \n1.11.Make-believe and pretense  \n49  \nChapter 2  \n5253  \nTHE STRUCTURE OF STORIES  \n2.1.Truth in fiction and fictional worlds  \n2.2.Being fictional56  \n2.3.Lewis's theory62  \n2.4.More on make-believe70  \n2.5.Truth in fiction and belief73  \n2.6.Fictional author and informed reader75  \n2.7.Strategies of interpretation81  \n2.8.Fictional to a degree?90  \n2.9.Fictions in visual media92  \nChapter 3  \n9999  \nINTERPRETATION  \n3.1.Relationalism and relativism  \nContents  \n3.2.The intentional fallacy  \n109  \n111  \n3.3.Intentional meaning and conventional meaning  \n3.4.The return of the author  \n117  \n3.5.The text  \n119  \n3.6.Story and style  \n121  \n123  \n3.7.Fictional author and narrator  \nChapter 4  \n127  \nTHE CHARACTERS OF FICTION  \n4.1.Fictional names and proper names  \n128  \n132  \n4.2.Existent and nonexistent things  \n4.3.Reference fixing and descriptive names  \n133  \n4.4.Transworld identity and counterpart theory  \n136  \n4.5.Diagonal propositions  \n141  \n4.6.The content of make-believe  \n146  \n4.7.In defense of the fictionalauthor  \n155  \n4.8.The metafictive use of fictional names  \n158  \n162  \n4.9.Accidental reference and aboutness  \n165  \n4.10.Fictional names and singular propositions  \n171  \n4.11.Roles  \n4.12.Conclusions  \n180  \nChapter 5  \n182  \nEMOTION AND THE RESPONSE TO FICTION  \n5.1.Finding the problem  \n182  \n5.2.The options  \n187  \n5.3.A theory of emotion  \n190  \n195  \n5.4.A solution  \n5.5.Objections and revisions  \n199  \n208  \n5.6.Alternatives  \n5.7.One solution or two?  \n211  \n213  \n5.8.Emotional congruence  \n5.9.Psychological kinds  \n215  \nIN CONCLUSION217  \nIndex  \n219  \nvii  \nPreface  \nThere are fictions that contribute to the enterprise of philos-ophy.And there are intellectual traditions for which fiction isa natural means to the expression of philosophical ideas.Butthe tradition in which I feel most at home is not one of them,and I leave it to others to explore the ways in which fictiondoes or could contribute to a philosophical explanation of theworld.Instead I shall treat fiction itself as something thatneeds explaining.This is a book written in the belief thatthere are certain very general questions about the nature offiction,the answers to which can be discovered more or lessa priori by appeal to the methods of philosophy rather thanto those of the critic or literary historian.How we c","cbCaiaf1dfG0p4cW","https://ap.wps.com/l/cbCaiaf1dfG0p4cW","pdf",8880609,235,"English","# Preface\n# Chapter 1 The concept of fiction\n## Fiction and language\n## Semantic properties\n## Readers and authors\n## The pretense theory\n## Make-believe\n## The author's intentions\n## Communicative acts\n## Fictive communication\n## Objections to the necessity of the analysis\n## Objections to the sufficiency of the analysis\n## Make-believe and pretense\n# Chapter 2 The structure of stories\n## Truth in fiction and fictional worlds\n## Being fictional\n## Lewis's theory\n## More on make-believe\n## Truth in fiction and belief\n## Fictional author and informed reader\n## Strategies of interpretation\n## Fictional to a degree?\n## Fictions in visual media\n# Chapter 3 Interpretation\n## Relationalism and relativism\n## The intentional fallacy\n## Intentional meaning and conventional meaning\n## The return of the author\n## The text\n## Story and style\n## Fictional author and narrator\n# Chapter 4 The characters of fiction\n## Fictional names and proper names\n## Existent and nonexistent things\n## Reference fixing and descriptive names\n## Transworld identity and counterpart theory\n## Diagonal propositions\n## The content of make-believe\n## In defense of the fictional author\n## The metafictive use of fictional names\n## Accidental reference and aboutness\n## Fictional names and singular propositions\n## Roles\n## Conclusions\n# Chapter 5 Emotion and the response to fiction\n## Finding the problem\n## The options\n## A theory of emotion\n## A solution\n## Objections and revisions\n## Alternatives\n## One solution or two?\n## Emotional congruence\n## Psychological kinds\n# In conclusion\n# Index","[{\"question\":\"How does the book distinguish fiction from nonfiction?\",\"answer\":\"It frames the key question as identifying characteristics that separate works of fiction from works of nonfiction, treating fiction as something that 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