“the curious paradox is that when i accept myself just as i am, then i can change” ― carl r rogers, on becoming a person: a therapist's view of psychotherapy tags: counselling , paradox , self-awareness , self-improvement. Acquire knowledge of the main theories of the nature of fiction and the nature of fictional characters and the main responses to the paradox of fiction and the puzzle of imaginative resistance analyze the strengths and weakness of these theories and responses. Final lecture and seminar: students’ choice (literary style and/or the paradox of tragedyor something else) jenefer robinson (1985) 'style and personality in the literary work. An analysis of sherlock holmes novel the hound of the baskervilles servicios and scores there are plenty of places on the internet that get everything you need to know about logic vs emotion in the curious incident of the dog in the night-time analysis. Relating this to the possibility of feeling pity and fear for fictional characters, the theory implies that the fictional characters are imagined by the reader and that it is the content of thoughts relating to them that have the capacity to elicit the genuine emotions of fear and pity.
In 1975, colin radford challenged an assumption that, up to then, appears to have been taken pretty much for granted in reading fiction, the assumption goes, we experience a broad range of emotional attitudes towards entities that we know to be merely fictional. This course will introduce and examine a number of philosophical issues raised by fiction, covering topics at the intersection of aesthetics and epistemology, metaphysics, and the philosophies of language and mind. Ince the publication of colin radford’s “how can we be moved by the fate of anna karenina” in 1975, philosophers of art have been concerned with the paradox of fiction.
Transcript of paradox of fiction paradox of fiction the paradox 1) to have real emotional responses we must believe that the people and situations in question really do exist or did exist at one time 2) when we engage with fictional texts we do not believe that the events or characters really do exist or did exist radford, colin how. The paradox of fiction is a philosophical problem about how people can experience strong emotions from purely fictional things, such as art, literature and imagination the paradox draws attention to an everyday issue of how people are moved by things which, in many ways, do not really exist. Colin radford must weary of defending his thesis that the emotional reactions we have towards fictional characters, events, and states of affairs are irrational1 yet, for all the discussion, the issue has not, to my mind, been properly settled—or at least not settled in the manner i should prefer.
The best-known formulation of the paradox of fiction is given by colin radford (1975) in his article ‘how can we be moved by the fate of anna karenina’ 1 in order to have an emotional response to something we must not believe that it is purely fictional or merely imaginary. The seminal piece on the paradox of fiction is colin radford‘s ―how can we moved by the fate of anna karenina‖ 3 radford has made a career 4 out of defending. By asking this question in 1975, colin radford introduced the paradox of fiction, or the problem that we can feel emotions towards characters and events which we know don’t really exist. Paradox of fiction) which has been approached in various ways over the last thirty years non-specifically, it can be outlined as follows: (1): we have emotional responses to fictional characters and situations (2): we believe fictional characters and situations are not real (colin radford being a notable exception), 13 ibid. Since the publication of colin radford’s celebrated paper »how can we be moved by the fate of anna karenina« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate.
Colin radford – paradox of fiction colin radford, an english philosopher, published a paper in 1975 in which he outlined his “paradox of fiction” a paradox is an instance where two or more statements that are by themselves true, contradict each other. Colin john radford (27 february 1935 – 9 april 2001) was an english philosopher who worked primarily in aesthetics but had interests in a wide variety of philosophical topics he is best known for describing the paradox of fiction in the 1975 essay how can we be moved by the fate of anna kareninaand developing the paradox in a number of subsequent essays. Since the publication of colin radford’s “how can we be moved by the fate of anna karenina” in 1975, philosophers of art have been concerned with the paradox of fiction how is it that humans can react emotionally to fiction when they know it is not real 1 it seems that to react emotionally to the fate of someone like anna we must believe she exists or once existed. When first presenting the paradox of fiction, colin radford decided to accept all the three premises of the alleged paradox and declared us ‘irrational’ in being moved by fiction art and emotion oxford: oxford university press a comprehensive study of the relationship between emotion and art matravers, d (2006.
For example, i argue that radford equivocates in his use of the term ‘aware' in his response to some of the proposed solutions to the feeling fiction problem finally, i show how susan feagin's approach to the paradox of tragedy can be analysed and supported by the hot theory. The rationality of emotion toward fiction kim, seahwa 2010-09-01 00:00:00 1 introduction since colin radford's articles on the puzzle of emotional responses to fiction have been published, philosophers have raised three questions with respect to our emotional responses to fiction. The fiction of paradox: really feeling for anna karenina 1 danièle moyal-sharrock it will be asked, how the drama moves, if it is not credited samuel johnson (1765, 502) as colin radford writes, our ordinary responses to fictional characters are genuine responses.
Doctor radford's problem is that we do speak of being moved in the required ways by works of fiction by looking at examples of the way the notion of pride is used to discover the nature of the objects that feeling takes the shooting of his sisterthe more likely are we to find his behaviour worrying and puzzling (supra) presumably we. The paradox of fiction is a philosophical problem about how people can experience strong emotions from purely fictional things, such as art, literature, and imagination. These arguments put forth by neil and the laws of the paradox of fiction attest radford’s view specifically, that genuine emotion requires belief that the objects exist moreover, we do not believe that fictional objects exist. By florian cova, anthony lantian this question lies at the core of the paradox of fiction since its original formulation, this paradox has generated a substantial literature philosophy of mind: emotions, rationality, colin radford, and paradox of fiction view on tandfonlinecom bookmark an allais paradox without mental time travel.