By Derek Matravers
For the previous 20 years there was a digital consensus in philosophy that there's a designated hyperlink among fiction and the mind's eye. particularly, fiction has been outlined by way of the mind's eye: what it's for anything to be fictional is that there's a few requirement reader think it. Derek Matravers argues that this rests on a mistake; the proffered definitions of 'the mind's eye' don't hyperlink it with fiction yet with representations extra in most cases. rather than the improper consensus, he deals an account of what it's to learn, hearken to, or watch a story even if that narrative is fictional or non-fictional. The view that emerges, which pulls generally on paintings in psychology, downgrades the divide among fiction and non-fiction and principally dispenses with the mind's eye. within the technique, he casts new gentle on a succession of matters: at the 'paradox of fiction', at the factor of fictional narrators, at the challenge of 'imaginative resistance', and at the nature of our engagement with film.
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They cite the following philosophers as part of the consensus: Noel Carroll, Gregory Currie, Ian Ravenscroft, Susan Feagin, Peter McComick, Aaron Meskin and Jonathan Weinberg, Roger Scruton, Kendall Walton, Sarah Worth, and Robert Yanal. It is a mistake to include Walton on this list as he is explicitly sceptical of this approach: ‘It is not easy to see what behavioural criteria might throw light on imagining, or what the relevant functions of a functional Fiction and the Imagination 25 account might be’ (Walton 1990: 20).
As we have seen, Currie takes a proposition to be fictional if its author intends that we imagine it, and intends that he gets us to do this by recognition of this very intention. In the spirit of the last chapter, one might think there are countless counterexamples to this. If it is the case that what it is to engage with a representation is to imagine its content, then, by Currie’s definition, ‘the fictional’ will include all representations. However, this is not the counterexample Currie considers.
The desire to give up smoking could be caused by a gruelling medical drama and the desire to travel to exotic places by a fiction film set in India. Non-fictional and fictional narratives do not differ systematically in their capacity to cause actions by the indirect means of causing desires. The second passage follows immediately after the first. When I work out what Sally believes about the location of her chocolates, I mentally simulate Sally’s mental processes, her having certain perceptions and thereby acquiring certain beliefs.