KENDALL WALTON FEARING FICTIONS PDF

What follows is a summary of the culminating paper I wrote for it. His paper truly merits all the critical acclaim it has received throughout the years: By clearly and precisely laying out his theory of make-believe, we can now better understand how a consumer of fiction interacts with the fictional work. Charlie sits in his local movie theater watching a horror movie depicting a giant ball of green slime rolling right at him. If you asked Charlie what he is feeling, he would unequivocally affirm that he feels fear.

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What follows is a summary of the culminating paper I wrote for it. His paper truly merits all the critical acclaim it has received throughout the years: By clearly and precisely laying out his theory of make-believe, we can now better understand how a consumer of fiction interacts with the fictional work.

Charlie sits in his local movie theater watching a horror movie depicting a giant ball of green slime rolling right at him. If you asked Charlie what he is feeling, he would unequivocally affirm that he feels fear. Walton correctly emphasizes that not even a tiny part of Charlie actually believes that the slime is real and that it poses a threat to his life. If this were the case, as Walton points out, Charlie would be at least slightly inclined to flee the theater or call the police.

Granted that he has no such inclination, Charlie could not possibly believe that the slime poses a serious threat at all. Instead, Walton claims that Charlie pretends to belief himself in danger and thus pretends to feel fear of the slime. Walton posits the existence of apparently two separate manifestations of Charlie.

The first Charlie is the one sitting in the movie theater watching an exciting new movie he has just paid an exorbitant sum of money for. This Charlie interacts and experiences the realm of reality we all are so used to. Notably, this game of make-believe to which our second fictional Charlie is sent is a personal one that only Charlie has access to. In this regard, Charlie is confined to using only his mental faculties to conjure this personal game of make-believe that he uses to interact with the fictional world before him.

The consumer necessarily plays a character in this personal fictional world distinct from the consumer herself. If indeed Walton is correct in maintaining that engagement with fiction is something that Charlie merely pretends to believe, then that would in no way stimulate somatic responses that Walton acknowledges to be automatic.

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