... of an engagement with narrative and to recent discussions of the so-called paradox of fiction. To explore in more concrete terms the effect of reading Wilhelm Meister's Apprenticeship , the article then turns to George Eliot's response in Daniel Deronda (1876). Goethe's novel appeals to the bodies of its...

... experience constructed by the narrative. The fictional accounts of catastrophe will be characterized as such: fiction allows the disaster to be experienced in a paradoxical relation to time, through the point of view of an “impossible witness.” © 2013 by Porter Institute for Poetics and Semiotics 2013...

...Maria Mäkelä; Merja Polvinen Any new narratological theory faces the test of being applicable to much-analyzed classics of prose fiction and of yielding new insights into narratives that have served as textbook examples of narrative strategies for decades. This essay is a constructed dialogue...

... (Cambridge: Cambridge University Press). 1978 ‘‘Truth in Fiction American Philosophical Quarterly 15: 37–46. 1986a On the Plurality of Worlds (Oxford: Blackwell). 1986b ‘‘The Paradoxes of Time Travel in Philosophical Papers, 2:67–80 (New York: Oxford University Press). 2004 ‘‘How Many Lives...

...Suzanne Keen Pursuing my earlier theory of strategic narrative empathy, this essay shows Thomas Hardy's bounded strategic empathy for his fictional creations, Wessex countrymen and women; his ambassadorial strategic empathy for animals and select members of despised outgroups; and his broadcast...

... literature and the psychology of reading. Her previous article, “The Paradox of Fiction and the Ethics of Empathy: Recon- ceiving Dickens’s Realism,” appeared in Narrative. The current article is drawn from her book project, The Ethics of Empathy: Imagining Difference in Victorian Social-Problem­...

... 2016 . “ The Paradox of Fiction: Emotional Response toward Fiction and the Modulatory Role of Self-Relevance .” Acta Psychologica no. 165 : 53 – 59 . Sujan Mita Bettman James R. Baumgartner Hans 1993 . “ Influencing Consumer Judgments Using Autobiographical Memories: A Self...

.... (For a discussion of these issues as they relate to the paradox of fiction, see Harrison 2008.) 5. For other limitations on interpersonal empathy, including conflict with egoistic motiva- tions, empathic over-­arousal, familiarity bias, and here-­and-­now bias, see Hoffman 2000: 34–35, 197–217. 258...

...: Studies in the Meaning of Poetry , 21 – 39 ( Lexington : University of Kentucky Press ). Yanal Robert J. 1999 The Paradoxes of Emotion and Fiction ( University Park : Pennsylvania State University Press ). Young Kay 2001 Ordinary Pleasures: Couples, Conversation and Comedy...

... complicated than this view suggests, and nonfictional narratives cannot be contrasted in this regard with fictional ones as unproblematic. Chapter 8 focuses on the problem known as “the paradox of fiction,” namely, how we can have feelings (sometimes very intense ones) about fic- tional characters...

... in this regard with fictional ones as unproblematic. Chapter 8 focuses on the problem known as “the paradox of fiction,” namely, how we can have feelings (sometimes very intense ones) about fic- tional characters. Matravers surveys previous discussions of the subject and claims that, if there is a problem...

... between a narrative and our structure of belief is more complicated than this view suggests, and nonfictional narratives cannot be contrasted in this regard with fictional ones as unproblematic. Chapter 8 focuses on the problem known as “the paradox of fiction,” namely, how we can have feelings...

... between a narrative and our structure of belief is more complicated than this view suggests, and nonfictional narratives cannot be contrasted in this regard with fictional ones as unproblematic. Chapter 8 focuses on the problem known as “the paradox of fiction,” namely, how we can have feelings...

... between a narrative and our structure of belief is more complicated than this view suggests, and nonfictional narratives cannot be contrasted in this regard with fictional ones as unproblematic. Chapter 8 focuses on the problem known as “the paradox of fiction,” namely, how we can have feelings...

... between a narrative and our structure of belief is more complicated than this view suggests, and nonfictional narratives cannot be contrasted in this regard with fictional ones as unproblematic. Chapter 8 focuses on the problem known as “the paradox of fiction,” namely, how we can have feelings...

... between a narrative and our structure of belief is more complicated than this view suggests, and nonfictional narratives cannot be contrasted in this regard with fictional ones as unproblematic. Chapter 8 focuses on the problem known as “the paradox of fiction,” namely, how we can have feelings...

... by Benjamin Sher (Elmwood Park, IL: Dalkey Archive). Wilson, Barbara 1990 GaudíAfternoon (Seattle: Seal). Winks, Robin W., ed. 1988 Detective Fiction: A Collection of Critical Essays (Woodstock, VT: Foul Play). Paradoxes vs. Contradictions D. S...

... rather than taking a stand himself on the question of whether fictions do, in reality, have the power to instruct. Landy • The Paradox of Perfection 163 about it all, but others, like Lazarillo de Tormes, did not care enough about virtue even to be wicked, properly...

... greater emphasis to the idea that, because characters are “nobodies,” the fictionality of the new genre liberates its reader from the pursuit of such thematizing. This fictionality leads to such paradoxes of character as the following: it is undeniably textual yet unable to be reduced to its...

... Bessière argues that, rather than being transgressive, metalepsis is inherent to narrative fiction and its display of the past as present. Christine Baron traces some of the ways in which metalep- ses confront reality and the paradoxes and possibilities of fiction. Philippe 628 Poetics Today 27:3...