A study of colin radford paradox of fiction

The (so-called) ‘Paradox of Fiction’

It would be like intending to perform an action while believing oneself incapable of performing it. Wittgensteinian Perspectives, Basingstoke et al. In fact, I think we fear a horror film monster not because that monster is going to literally eat us, but because its threat to the characters in the work is, in effect, the actual phenomena of murder, torture, and predation, which do exist, and which we rationally fear.

Well, to put it bluntly and more than a little manipulativelyI am led to believe the first premise is false by my knowledge of biology, psychology, and common sense. It is also debatable whether the Thought Theory cannot be revised so as to incorporate the concreteness consideration, by simply redefining the psychological attitude referred to by Carroll as "entertaining" in either neutral or A study of colin radford paradox of fiction terms.

From a perspective outside the game of make-believe, the experience does not count as genuine pity. It is to these strategies, and some of the powerful criticisms that have been levied against them, that we now briefly turn.

Henceforth, I shall assume the truth of [Radford's second premise] and consider the [other] possibilities. In the case of literature, for example, the reader obviously does not respond emotionally to the words as they appear on the printed page, but rather to the mental images these words serve to conjure in his mind.

Paradox of fiction

In the logical sense of the word, this argument is perfectly valid. The cultivation approach, by contrast, does not claim that engagement with the arts can give a person any new knowledge; rather, the engagement allows the person to refine and practice their existing moral understandings and capabilities.

The acquaintance approach argues that engagement with the arts can give a person acquaintance knowledge with novel perspectives and novel circumstances.

Abhandlungen zur Psychologie, ed. Jack and Jill are likely to recognize that they have no good reason for their fears. Others argue, though, that entering into immoral points of view, and experiencing the attendant emotions, is a potentially valuable feature of engaging with fiction Kieran ; Eaton They therefore reject 2.

Taylor, Gabrielle, Pride, Shame and Guilt. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. In ordinary circumstances there is a close relationship between our beliefs and central features of emotion that are missing in the fiction case.

It is interesting to note that while virtually all of those writing on this subject credit Radford with initiating the current debate, none of them have adopted his view as their own.

Second, these features do not distinguish emotions from moods—affective states lacking in content, as when I am anxious but not about anything in particular—or lower-level automatic responses, such as being startled by a loud noise. But there are further conditions that fictional emotions may need to meet that do not apply to emotions in other contexts Currie Teroni and Cova, ms.

As a consequence, an integrated [End Page ] account of the relationship between narrative and interpersonal empathy has not been fully realized.

Nearly everyone—philosophers, psychologists, neuroscientists, ordinary folk—agree that we can experience genuine emotions in the absence of relevant beliefs, often precisely because this seems to be the case in fiction. The explanation must be that in so responding we violate a norm that governs emotions cf.

This claim is consistent with both 1 and 3 and therefore produces no paradox.

Imagination

View freely available titles: From this perspective, pity involves the thought that someone suffers, fear the thought that one is in danger, and so on, but these thoughts can be entertained, supposed, imagined, or whatever. Imagination in Philosophy and Psychology, Oxford Yet although beliefs seem to be necessary for emotions in other contexts, we respond to fiction without the relevant beliefs.

The Paradox of Fiction

Thus no technical redescription in terms of make-believe is needed"p. It isn't even clear whether what we have here really qualifies as a "paradox" at all. Yet, for all the discussion, the issue has not.

But does this question entail a paradox? The issue I have with almost all of the responses to Colin Radford over the years is that they largely agree that there is a paradox to be solved. First, they acknowledge that cognition plays a part in the development of emotions even when they are initiated more directly Robinson Indeed, why do they not, instead, wear polo shirts and clean khaki pants?

Arguing on behalf of the Thought Theory, Murray Smith invites us to "imagine gripping the blade of a sharp knife and then having it pulled from your grip, slicing through the flesh of your hand.

Solutions that reject Negative Avoidance Condition deny that people tend to avoid things that evoke negative emotions in them. Indeed, why do they not, instead, wear polo shirts and clean khaki pants?

Paradox of Fiction : What does it mean to be moved by the fictional character?

The problem with pity of Anna Karenina is not that it is directed at, say, a happy situation or one that invites only mild concern; the formal object is intense suffering, even if no actual object suffers.

Instead, they argued that the only type of beliefs necessary when engaging with fictions are "evaluative" beliefs about the characters and events depicted; beliefs, for example, about whether the characters and events in question have characteristics which render them funny, frightening, pitiable, etc.

In his words, what philosophers such as Novitz, Hartz, and Carroll miss "is that the fact that Charles is genuinely moved by the horror movie.The (so-called) ‘Paradox of Fiction’ This chapter argues that, in as much as the ‘paradox of fiction’ is a problem, it is neither a paradox nor about fiction.

Colin Radford’s original formulation of the problem is considered and dismissed, on the grounds that the claim that cheri197.com:oso/  · The paradox of fiction,first stated by Colin Radford in ,exposes an inconsistency in our emotional response to fiction, namely that we do not think fictional characters exist and, consequently, it is strange that cheri197.com If Colin Radford contends that emotional responses to non-real events are irrational, constituting a paradox of fiction, then surely Radford would also have to conclude that it is “illogical, irrational, even incoherent” that a human can experience emotional responses to considerations of the future.

· Second, the paradox of emotional response to fictions (sometimes known as the “paradox of fiction”) examines psychological and normative similarities between affective responses prompted by imaginings versus affective responses by reality-directed cheri197.com://cheri197.com The usual reply to Radford’s argument is to deny that we are, in fact, 7 committed to all three claims in the Paradox of Fiction.

Since the incoherence is supposed to stem from our commitment to these three inconsistent claims, this would avoid the. · So because mirror neurons do not distinguish between fiction and reality, we react emotionally to both fiction and reality.

S ince the publication of Colin Radford’s “How Can We Be Moved by the Fate of Anna Karenina?” inphilosophers of art have been concerned with the paradox of cheri197.com

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A study of colin radford paradox of fiction
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